In some cases associate head writer and breakdown writer are the same person, in other cases it's different people

Edited December 20, 201311 yr by cassadine1991

Yeah, he's needed at both Y&R and GH. Both easily have 10+ people that need to go today. I've been thinking for a while perhaps hiring some producers and writers from Euro soaps. They'd be outsider enough to shake things up and bring a new perspective, but still know enough about soaps to not have to learn how to write/run one from scatch. One of my favorite writers is Tom Chroust, I've liked his HW stints on both the German soaps Verbotene Liebe and Alles was Zahlt. I'd love to see what he'd do at an American soap.

In essensce, I too, am curious to see if that kind of crossover would work, but I do vaguely remember Daran Little going over to America to write for one of the soaps (All My Children, I believe) for a cup of tea and a biscuit and for more than one reason, it didn't work.

Also, and perhaps I'm being finicky, but I wouldn't wish Paul Marquess on you guys. Yes, he isn't afraid to swing the axe, but I'm not sure his idea of pacing, tone and storylines would sit well with you guys. Or maybe my view of what he did to The Bill is clouding my judgement. Lol

If she hadn't stepped away from soaps, I would have said Kathleen Beedles, only because of the 'Dynasty-esq' air she created whilst producer of Emmerdale (The Kings vs The Sinclairs, the showroom house collapse, the epic extended episodes that saw Sadie King and Cain Dingle con money out of the King Family and exit, as well as Tom's death and aftermath, etc). But, in reality, I do wonder if the 'soap culture' philosophical and differences between the countries would translate well. For example, British soaps primarily make heroes out of the working classes whilst writing the wealthy and successful with almost a degree of suspicion/detachment, whereas a lot of US soaps focus on the afluent as a form of escapism.