Seed Newsvine
Although there are many fan message boards for Days of our Lives. The most active one is on the NBC home site. It has one of the most diverse viewer demographics. However, one theme has been increasingly prevailant--the fans are not happy with the direction the executive producers and writers are taking Days. There have been more than one thread asking for the firing of both.
On more than one occasion, ideas that were presented on the board appeared a few weeks later on the screen; credit was never given to the posters, but it has happened consistently enough to prove that either the executive producers or the writing staff had been checking in. It is too bad that while they are swiping plot points and ideas from the fans, they don't take the time to listen to what the fans want and need. If they did, the fans would be staying instead changing the channel and ratings would be increasing instead of falling.
The viewers want:
Deidre and Drake to stay; many viewer have already stated that the actors last air date will be the last time they will watch Days.
The vets to be actively involved with storylines, not just show up occasionally to prop up the newbies.
An end to endless and continuing triangles. Enough already. Triangles are a good short term plot point, but nothing more.
New writers. The replacement need to not only know the show's history, but be able to write for vets without gutting and recreating them, created interesting new characters, and write storylines that are based on romance, suspense, drama and humor.
They were disappointed that Thanksgiving was ignored and afraid the same will happen with Christmas. Both holidays were always very special for the fans.
The following are quotes taken from the different threads.
With the show only having an eighteen month contract, I'm wondering if the scribes have any real intention of "wowing" the viewers. So far, they have failed miserably. I seriously hope that they check out these message boards to see how disheartened DAYS fans truly are. Unfortunately, the show has landed itself in the same position that PASSIONS was in not too long ago. PASSIONS received a couple of one year extensions for their contracts. But, sadly, that show has bit the dust. I shudder to think what these short contract deals mean for DAYS. It's not too promising. So, my BIG question for the scribes is what will you do to truly turn the show around? I don't know about anyone else, but I'm pretty much fed up with triangles, dead babies, lifeless characters, and the departures of vets such as Dee/Drake. For the past couple of years or so, I've done more groaning/complaining than anything else when posting about the show. I can remember when Salem was a happy place filled with love and adventure galore. It's now a shadow of its former self. The scribes are going to have to come up with something super tremendous to keep me coming back for more. I don't have any faith, however, that they will be able to deliver.
Cookfan
Okay, if DOOL continue to replace popular actors with other unknown actors. They might as well cancel the show. Enough already!!!
Thesun
Oh, Marlena is probable gone too, the way things look we will have the stupid young group and that is it.
atsvan
Why am I not surprised? Ken Corday has no desire to preserve his parents legacy! Unbelievable. Absolutely unbelievable! I do feel the end is near for our beloved show. Yes I know that we're thinking 18 months... but at this rate it's going to be a pathetic 18 months.
I'm sending you a big hug, Hartleyfan. My six year old says that hugs always make you feel better. I think in this case, though, it's going to take more than a hug to make any of us feel better.
Boomonster
So Corday gets rid of John Black yet we are still stuck with Melanie, Max, Nicole and Daniel? Why don't they just cancel the show right now! Higley and Corday obviously don't care about the show or the fans who have remained loyal. Screw them!! Just cancel the show already! Obviously, TIIC don't care about the actors or the fans. If they did, they wouldn't be firing beloved vets and bringing on more pointless newbies.
Jnjfan
I am really hoping that this is a rumor. I don't want to see John go.
Max could go back into racing, and be on the circuit... Melonie could go anywhere but Salem... Nick is going to jail so he is already out, Chelsea and Stephanie could go back to college and do it abroad... not in Salem.
Dr. Dan could just go... Roman hardly is on and has no storyline, as much as I love Roman, send him off to some training class or something. What on earth are they doing with Victor and Stefano? If they aren't going to use them for their evilness then why have them at all.
Lexie and Theo could go some where to get theo help... they have nothing to add to the show.
There are so many little characters that don't really need to be there that you could explain away that they could keep the majors.
Why are we spending so much time on Trent's murder? No offense, but some college professor should take a back seat to the Mayor's murder and they haven't done anything on finding the killer of the Mayor... We have had to deal with Trent for what 3 months after his murder... just get this over with... and lets just get rid of Melonie.
Co770
I guess Ken doesn't remember last time he decided to fire Drake? The fans went berserk. If the actors and actresses who have been on the show the longest continue to leave, they won't get to finish out their new extension. Half of the viewers will be gone. They say that they want to make room for other stories, what the heck does that mean? That they think whoever is leftover when they finish their massacre will be more important? The vets are important and they aren't on enough, and that's the reason they are in the spot they are in now. The fans would have been loving this John storyline and viewing in drones had they handled it right. They let Drake tell us about all of the stuff coming up for him in this story and they let him go!?
And not just that. Had they given the rest of the vets stories or at least given us some real stories and not this dribble we have now of slow and boring storylines, they wouldn't have to let anyone go. New people are nice, but don't sacrifice the proven formula for a new one!
I'm furious that they are just letting their talent out the door. They are really proving that they don't know what they Hell they are doing. We might as well accept cancellation and let it go.
And you know, I said before that I wouldn't stop watching. But if none of the characters I know are on the show, what's the point in watching? So im starting to rethink that. Good job Ken!
NewDaysfan
If this is indeed a fact, I can definitely guarantee to NBC that me and many of the loyal viewers who have remained, will be gone forever. I have already talked to some of these people and we are in total agreement......NO JOHN means NO VIEWERS. The show has been totally horrible but we have hung on for the last year for a glimpse of the old John returning to reunite with Marlena. Enough is enough!!
Jane083
I loved that S/L! It was creative and innovative. I would be open to bringing her back....oh if only it were up to me. I also like Sheri Anderson as HW. I don't like the direction "Hackley" is taking the show...it's lame, predictable and what she thinks is interesting... which is not what the fans find interesting.
Twisted fate
Are you happy with Days and the storylines
Definitely yes. [ 2 ] [4.08%]
yes [ 5 ] [10.20%]
Sometimes [ 10 ] [20.41%]
I'm hanging in there hoping it will get better [ 14 ] [28.57%]
not really [ 0 ] [0.00%]
Definitely no [ 9 ] [18.37%]
I fast forward through most the show. [ 4 ] [8.16%]
If I miss it, it doesn't matter. [ 2 ] [4.08%]
I have given up and am moving on to another soap. [ 1 ] [2.04%]
The best years are over all that's left is to turn off the stage lights. [ 2 ] [4.08%]
If you could have five minutes with the Executive Producers, What would you say to them?
Good job [ 1 ] [2.04%]
What are you doing? [ 15 ] [30.61%]
I have a few ideas to make things better. [ 17 ] [34.69%]
Why do you work on Days if you hate your job [ 4 ] [8.16%]
Your fired [ 12 ] [24.49%]
Honestly, I think I could have voted ALL of these:
I'm hanging in there hoping it will get better
not really
Definitely no
I fast forward through most the show.
If I miss it, it doesn't matter.
I have given up and am moving on to another soap.
The best years are over all that's left is to turn off the stage lights.
And I would tell them to get back to using their "main" characters in storylines where everyone is involved, like they did in the 80s. It's time to get back to basics and stop pandering to the younger demographic already.
Soozn79
There is so much more than I could possible list here. However, what the fans want is very clear to anyone who is open enough to see it. Most fans believe that Days will be cancelled before the contract ends and at this point they don't care. The show they have loved and have been loyal too for decades doesn't exist any more. But it doesn't have to be. Change can be wonderful, but so can keeping to tradition. Two generations have grown up with Days; many of the vets feel like family. It doesn't have to end. There are still many viewers and fan who desperately want to be loyal, including me; we just want our show back--the one that was based on romance, suspense, drama and humor--not just shallow soft porn. We are a demographic that can be very profitable to any network that choices to give us back Our Days.
So Mr Fairfield, Connecticut are you willing to step up to the plate and make your voice heard. You can make the necessary changes. The power is within you to save Days. It's a good business, good karma and just a plain out and out good deed--And if you decided to take up this challenge, remember, me for the head writer gig. I would very much like the opportunity to brink back the good old Days.
Showing posts with label Corday Production. Show all posts
Showing posts with label Corday Production. Show all posts
Tuesday, December 2, 2008
Monday, December 1, 2008
Days of Our Lives 12-2-08
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
The newest entry is at http://geocities.com/tirgana/Days12-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
The newest entry is at http://geocities.com/tirgana/Days12-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Wednesday, November 5, 2008
Days of Our Lives
Today, I once again called Gary Tomlin to ask for a job. According to his assistant, he was in a meeting. When I explained why I wanted to talk to him, she gave me very little hope that he would call me back. The show needs a head writer who cannot only do her own work, but who knows the characters and the show's history enough to be able to write storylines that will honor both. Day's used to be able suspense, drama, romance and humor; it hasn't been that way in a long time. I have already proven that I do that. Your kind words and support have proven that you enjoy my work. Unfortunately, I need a job and I need it now. I've done my best to storm the gates both directly and indirectly. I have used time and energy that I could have used to provide for my family to work towards getting the gig. It's not that I'm giving up, I still want the gig; it's just that I'm running out of road. If I wanted to be bitch about it, I would post the phone number of his direct line that I found; however, ethically I can't go there.
I will post more story when time and energy allow me too. But I'm leaving it up to those who love my work and want to see it on the screen to make it happen. Corday's Production line is public knowledge; it is 818-295-2821. The publicity line is 818-840-2810. Sony Pictures number is 310-244-5722.
I'm leaving my destiny up to the Fates and those who loved my work enough to make a difference. Whatever happens, I am very grateful to everyone who have supported me; it has meant the world to me.
I will post more story when time and energy allow me too. But I'm leaving it up to those who love my work and want to see it on the screen to make it happen. Corday's Production line is public knowledge; it is 818-295-2821. The publicity line is 818-840-2810. Sony Pictures number is 310-244-5722.
I'm leaving my destiny up to the Fates and those who loved my work enough to make a difference. Whatever happens, I am very grateful to everyone who have supported me; it has meant the world to me.
Sunday, November 2, 2008
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
The newest entry is at http://www.geocities.com/tirgana/days11-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Technorati Tags:
Technorati Tags: Days of Our Lives, Angelique, Barabas, Bloopers, collins, Soapnet.com, Soap Opera News and Updates, Soaps.com, Days of Our Lives Fan Site, Dark Shadows, daytime TV, ghosts, horror, Quentin, real life vampires, soap operas, fiction, fantasy novel, best fantasy novel, daytime TV, soap operas, daytime serial, romance, love in the afternoon, Charmed, witch, witches, witchcraft magic, witch hunts, religious bigotry, religious ignorance, freedom of religion, reincartion, soul mates, new storylines, Alison Sweeny, Renée Jones, Peter Reckell, Kristian Alfonso, Deidre Hall, Bryan Dattilo, Drake Hogestyn, James Scott, Thaao Penghlis, James Reynolds, Suzanne Rogers, Leann Hunley, Tanya Boyd, Bill Hayes, Susan Seaforth Hayes, gothic romance, Theresa Chaze, magical fantasy, soap opera fan, fan fiction, Spoilers, Synopsis, Recaps, Characters, alternative reality, Salem, Sony Pictures Television Soaps, soap opera spoilers, soap opera updates, soap opera digest, soap opera, soap opera awards, daily recaps of soap operas, soap opera central, soap opera weekly, soap opera news, soap opera scoops, male soap opera stars, soap opera recaps, daytime soap operas trivia, soap opera websites, days of our lives spoilers, dustin's days of our lives, days of our lives soap opera, days of our lives cast, cast for days of our lives, days of our lives youtube, days of our lives story spoilers, days of our lives cafe, bio of days of our lives cast, what will happen on days of our lives, days of our lives cast and crew, Theresa Chaze, Renee DiMera, Philece Sampler, Ken Corday, Corday Production, Sony Pictues, Gary Tomlin, Michael Lynton, contacting days of our lives, DOOL cancelation, NBC daytime tv, NBC
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
The newest entry is at http://www.geocities.com/tirgana/days11-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Technorati Tags:
Technorati Tags: Days of Our Lives, Angelique, Barabas, Bloopers, collins, Soapnet.com, Soap Opera News and Updates, Soaps.com, Days of Our Lives Fan Site, Dark Shadows, daytime TV, ghosts, horror, Quentin, real life vampires, soap operas, fiction, fantasy novel, best fantasy novel, daytime TV, soap operas, daytime serial, romance, love in the afternoon, Charmed, witch, witches, witchcraft magic, witch hunts, religious bigotry, religious ignorance, freedom of religion, reincartion, soul mates, new storylines, Alison Sweeny, Renée Jones, Peter Reckell, Kristian Alfonso, Deidre Hall, Bryan Dattilo, Drake Hogestyn, James Scott, Thaao Penghlis, James Reynolds, Suzanne Rogers, Leann Hunley, Tanya Boyd, Bill Hayes, Susan Seaforth Hayes, gothic romance, Theresa Chaze, magical fantasy, soap opera fan, fan fiction, Spoilers, Synopsis, Recaps, Characters, alternative reality, Salem, Sony Pictures Television Soaps, soap opera spoilers, soap opera updates, soap opera digest, soap opera, soap opera awards, daily recaps of soap operas, soap opera central, soap opera weekly, soap opera news, soap opera scoops, male soap opera stars, soap opera recaps, daytime soap operas trivia, soap opera websites, days of our lives spoilers, dustin's days of our lives, days of our lives soap opera, days of our lives cast, cast for days of our lives, days of our lives youtube, days of our lives story spoilers, days of our lives cafe, bio of days of our lives cast, what will happen on days of our lives, days of our lives cast and crew, Theresa Chaze, Renee DiMera, Philece Sampler, Ken Corday, Corday Production, Sony Pictues, Gary Tomlin, Michael Lynton, contacting days of our lives, DOOL cancelation, NBC daytime tv, NBC
Friday, October 31, 2008
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
The newest installment is at www.geocities.com/tirgana/days10-31-08.pdf
The last two entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
The newest installment is at www.geocities.com/tirgana/days10-31-08.pdf
The last two entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Monday, October 20, 2008
Days of Our Lives, Romance Novels and Rape
Days of Our Lives, Romance Novels and Rape
Sometimes it's strange how when you ask like a question, you get the answer in the weirdest way. I could never understand why so many were in favor of the pairing of Sami and EJ after the rape. It didn't make sense to me until the universe pointed out an old belief or behavior about women's sexuality.
It has been long believed that only whores or sluts enjoyed sex; good girls and women closed their eyes and pretended to like it because it was their duty as wives and it was the only way to fulfill their purpose in life, which is to birth children. Women were considered property that fathers sold, bartered or gave to the husband. It's only been the last 40 years that woman have had the ability to claim their power, yet the remnants of past beliefs still remain, which is why the subgenre of romance novel that involves women who are kidnapped and raped fall in love with their attacker continues to flourish. It also explains why on Days of our Lives, there is a following for EJamie.
Romance novels have very styled formats. Within two hundred pages, two people fall in love, over come obstacles and then live happily every after. The heroine is in danger. The hero comes to rescue her, thereby putting himself in danger. Throughout the perils, they fall in love. The good guys always win so after the villain is defeated the lovers live happy every after.
However, in this subgenre. There isn’t a hero. Instead, the woman is kidnapped by the villain, who awakens her inner passion by raping her. While the hero is trying to save the woman, she becomes enthralled with the villain, seeing only his good side, so that when she is rescued she remains with her capture because he is her true love. GMAFB!
No matter what you call it, sex is not only a natural part of life, but it can also be a very good time. Yet many woman are still ashamed of their sexuality. They cling to the notion that if they enjoy sex that their morals will be called into question. However, if they are forced, then they are not responsible for enjoying their guilty pleasure.
Rape is not romance, desire or passion; in fact, it is violence and control disguised as a sex act. There is nothing romantic or enticing about having your self-respect, dignity and your inner security ripped from you. The physical trauma may heal, but the emotional damage is life changing and frequently permanent. It is a degradation that many women never emotionally survive.
The Bureau of Justice defines rape as, “Rape - Forced sexual intercourse including both psychological coercion as well as physical force. Forced sexual intercourse means penetration by the offender(s). Includes attempted rapes, male as well as female victims, and both heterosexual and homosexual rape. Attempted rape includes verbal threats of rape.” Of all the reporting countries, the U.S has the highest rape rate. According the FBI, every two minutes a woman is raped not only by strangers but acquaintances and family members. The National Women’s Study, Rape in America: A Report to the Nation found that 1 in 7 women will be raped by her husband. The website www.paralumun.com/issuesrapestats.htm listed the following statistics.
One of the most startling aspects of sex crimes is how many go unreported. The most common reasons given by women for not reporting these crimes are the belief that it is a private or personal matter and the fear of reprisal from the assailant.
Approximately 28% of victims are raped by husbands or boyfriends, 35% by acquaintances, and 5% by other relatives. (Violence against Women, Bureau of Justice Statistics, U.S. Dept. of Justice, 1994)
The FBI estimates that only 37% of all rapes are reported to the police. U.S. Justice Department statistics are even lower, with only 26% of all rapes or attempted rapes being reported to law enforcement officials.
In 1994-1995, only 251,560 rapes and sexual assaults were reported to law enforcement officials -- less than one in every three. (National Crime Victimization Survey, Bureau of Justice Statistics, U.S. Department of Justice, 1996.)
An overwhelming majority of rape service agencies believe that public education about rape, and expanded counseling and advocacy services for rape victims, would be effective in increasing the willingness of victims to report rapes to the police. (Rape in America, 1992, National Victim Center with Crime Victims Research and Treatment Center.)
LIVING IN FEAR :
According to the U.S. Department of Justice: (All statistics are taken from: Violence against Women, Bureau of Justice Statistics, U.S. Dept. of Justice, 1994.)
One of every four rapes take place in a public area or in a parking garage.
31% of female victims reported that the offender was a stranger.
68% of rapes occur between the hours of 6 p.m. and 6 a.m.
At least 45% of rapists were under the influence of alcohol or drugs.
In 29% of rapes, the offender used a weapon.
In 47% of rapes, the victim sustained injuries other than rape injuries.
75% of female rape victims require medical care after the attack.
My question is why would writers promote rape as romance when it is anything but? As a storyline it would be a great way to address the issue and create social awareness to both the devastation and the healing process. Not only promoting rape as romance socially irresponsible, but it also creatively discredits the writer. Why would women want to read or watch a TV show about another woman being raped, must less expecting her to fall in love with her rapist?
As long as women see themselves as second class citizens and powerless, they will not be able to claim their power as women or as individuals. Instead they will remain victim to the whims of the others, instead become mistresses of their own destinies. There are so many wonderful romances available that are based on real romance, suspense and drama, why would a woman read a book or watch a show that is written to degrade her and make her feel powerless?
Sometimes it's strange how when you ask like a question, you get the answer in the weirdest way. I could never understand why so many were in favor of the pairing of Sami and EJ after the rape. It didn't make sense to me until the universe pointed out an old belief or behavior about women's sexuality.
It has been long believed that only whores or sluts enjoyed sex; good girls and women closed their eyes and pretended to like it because it was their duty as wives and it was the only way to fulfill their purpose in life, which is to birth children. Women were considered property that fathers sold, bartered or gave to the husband. It's only been the last 40 years that woman have had the ability to claim their power, yet the remnants of past beliefs still remain, which is why the subgenre of romance novel that involves women who are kidnapped and raped fall in love with their attacker continues to flourish. It also explains why on Days of our Lives, there is a following for EJamie.
Romance novels have very styled formats. Within two hundred pages, two people fall in love, over come obstacles and then live happily every after. The heroine is in danger. The hero comes to rescue her, thereby putting himself in danger. Throughout the perils, they fall in love. The good guys always win so after the villain is defeated the lovers live happy every after.
However, in this subgenre. There isn’t a hero. Instead, the woman is kidnapped by the villain, who awakens her inner passion by raping her. While the hero is trying to save the woman, she becomes enthralled with the villain, seeing only his good side, so that when she is rescued she remains with her capture because he is her true love. GMAFB!
No matter what you call it, sex is not only a natural part of life, but it can also be a very good time. Yet many woman are still ashamed of their sexuality. They cling to the notion that if they enjoy sex that their morals will be called into question. However, if they are forced, then they are not responsible for enjoying their guilty pleasure.
Rape is not romance, desire or passion; in fact, it is violence and control disguised as a sex act. There is nothing romantic or enticing about having your self-respect, dignity and your inner security ripped from you. The physical trauma may heal, but the emotional damage is life changing and frequently permanent. It is a degradation that many women never emotionally survive.
The Bureau of Justice defines rape as, “Rape - Forced sexual intercourse including both psychological coercion as well as physical force. Forced sexual intercourse means penetration by the offender(s). Includes attempted rapes, male as well as female victims, and both heterosexual and homosexual rape. Attempted rape includes verbal threats of rape.” Of all the reporting countries, the U.S has the highest rape rate. According the FBI, every two minutes a woman is raped not only by strangers but acquaintances and family members. The National Women’s Study, Rape in America: A Report to the Nation found that 1 in 7 women will be raped by her husband. The website www.paralumun.com/issuesrapestats.htm listed the following statistics.
One of the most startling aspects of sex crimes is how many go unreported. The most common reasons given by women for not reporting these crimes are the belief that it is a private or personal matter and the fear of reprisal from the assailant.
Approximately 28% of victims are raped by husbands or boyfriends, 35% by acquaintances, and 5% by other relatives. (Violence against Women, Bureau of Justice Statistics, U.S. Dept. of Justice, 1994)
The FBI estimates that only 37% of all rapes are reported to the police. U.S. Justice Department statistics are even lower, with only 26% of all rapes or attempted rapes being reported to law enforcement officials.
In 1994-1995, only 251,560 rapes and sexual assaults were reported to law enforcement officials -- less than one in every three. (National Crime Victimization Survey, Bureau of Justice Statistics, U.S. Department of Justice, 1996.)
An overwhelming majority of rape service agencies believe that public education about rape, and expanded counseling and advocacy services for rape victims, would be effective in increasing the willingness of victims to report rapes to the police. (Rape in America, 1992, National Victim Center with Crime Victims Research and Treatment Center.)
LIVING IN FEAR :
According to the U.S. Department of Justice: (All statistics are taken from: Violence against Women, Bureau of Justice Statistics, U.S. Dept. of Justice, 1994.)
One of every four rapes take place in a public area or in a parking garage.
31% of female victims reported that the offender was a stranger.
68% of rapes occur between the hours of 6 p.m. and 6 a.m.
At least 45% of rapists were under the influence of alcohol or drugs.
In 29% of rapes, the offender used a weapon.
In 47% of rapes, the victim sustained injuries other than rape injuries.
75% of female rape victims require medical care after the attack.
My question is why would writers promote rape as romance when it is anything but? As a storyline it would be a great way to address the issue and create social awareness to both the devastation and the healing process. Not only promoting rape as romance socially irresponsible, but it also creatively discredits the writer. Why would women want to read or watch a TV show about another woman being raped, must less expecting her to fall in love with her rapist?
As long as women see themselves as second class citizens and powerless, they will not be able to claim their power as women or as individuals. Instead they will remain victim to the whims of the others, instead become mistresses of their own destinies. There are so many wonderful romances available that are based on real romance, suspense and drama, why would a woman read a book or watch a show that is written to degrade her and make her feel powerless?
Friday, October 17, 2008
Days of Our Lives: EJ Wells DiMera AKA James Scott
Days of Our Lives: EJ Wells DiMera AKA James Scott
EJ Wells DiMera has become one of the most controversial characters in recent soap history. Originally presented as a mysterious jet-setting race car driver, he arrives in Salem with an agenda that quickly becomes apparent when he exposed to be son of Susan Banks and Stefano DiMera. It is later revealed that Stefano sent EJ to Salem to plant the DiMera seed in a Brady woman and carry out Santo’s vendetta against the Brady family.
From the Black glove crimes to the rape of Sami Brady to all the other acts of violence in between and since, EJ has become an all or nothing character. Viewers either love him or hate him. Both sides are equally passionate and rabid at the same time.
The Ejamies, as the fans who favor the couple Sami and EJ are called, have glossed over, excused and ignored EJ’s behavior and criminal acts. They habitually read between the lines of the dialogue and character behavior to suit their own point of view. For them Ejamie is the endgame, even if it means the end of the Days. In spite of what was said both on the show and interviews by actors, they refuse to see that EJ raped Sami. After two years, the debated is just as heated as when it first began. His fans dismissed or excused his other crimes . For months, many refused to believe that EJ shot John. They blamed Teck or an unknown shooter, even through there was video proving the contrary. It wasn’t until EJ was tricked by John into admitting it, that the controversy ended. Another tactic is to point out the crimes and bad behavior of other characters as a way to excuse EJ. One person’s bad behavior doesn’t excuse another’s bad behavior.
On the other side is the Sami and Lucas fans, who are called Lumi. They are equally as passionate and stubborn about their favorite couple. However, I have yet to read one statement by a Lumi wishing the show would be canceled if Sami and Lucas weren’t together. Sami and Lucas have a long history together as friends, lovers and adversaries. Their relationship has been bumpy to say the least; however, most of their problems were caused by outside forces, including EJ and Kate Roberts, Lucas’s mother. When I do Lucas’s character profile, I will go into more details. But this is not the time or place; the focus of this piece is on EJ.
I see EJ Wells-DiMera as a complex character who is at war with himself. He is more than a handsome face with a cool accent nor is he just Stefano’s pawn. EJ’s formative years were spent with his mother, Susan Banks and step-father, Edmund Crumb. Although Susan could be best described as unique, she had a kind heart and loved EJ very much. When she escaped with him to England, it was her way of protecting him from Stefano’s influence. It was Susan and Edmond’s influence during his first five years which gave EJ his core values and ability to love.
When or how Stefano gained custody would make a wonderful storyline It seems the writers are over looking this character developing plot; however, it is one that I will be using in the near future in my alternative universe storylines. Stefano is manipulative and controlling, whose love is conditional on him receiving total loyalty and subservience. To question Stefano is to be disloyal to him, thereby bringing down his wrath. Although EJ was the crowned prince to Stefano’s empire, he was taught that he was easily replaceable as Stefano played Andre and EJ off one another. Through this endless competition, EJ leaned to set aside what he learned in his childhood in order to survive. To be safe, he needed to be ruthless and heartless towards his enemies, while controlling those he cared about so that they could not be used against him.
While the core of his personality longed for the family he had in childhood, his conscious mind decided to set that dream aside. To bury it along with all the memories and feelings he had for his mother and Edmond. Whether it was a single event or a series, EJ chose to follow Stefano’s example, by taking what he wanted and the consequences were irrelevant because he was a DiMera. His new philosophy became that to love or need another was to give them power over you, which is not the DiMera way. Instead of asking and risking rejection, the DiMera way was to lie, manipulate and control; thereby retaining power and domination over others.
EJ might have been interested in Sami at the beginning, but it was not the reason he became obsessed with her. Stefano wanted a direct heir with a Brady woman. It was the one thing that Stefano wanted that only EJ could give him. Tony wasn’t a blood son. Andre was a nephew. If EJ could fulfill this one thing, he could permanently gain Stefano’s favor and insure his rise to the head of the DiMera family. However, the reality of having a child was much different than what EJ expected. It awakened and re-energized his early childhood memories. Suddenly he was no longer just Stefano’s pawn, but he was also his mother’s son. By seeing the innocence in Johnny’s eyes, he was reminded what it was like to be loved and loved unconditionally--hence, the inner turmoil and outer obsession.
EJ thought the strength to break away from Stefano came from Sami and Johnny. However, it was his own true self emerging--the part that learned trust and love through his mother. When the aspect remerged, the war within EJ began. He doesn’t love Sami for Sami, but for what she represents. Through her, EJ cannot only please his father but she also gives him the family his heart wants. The problem is that EJ knows that the family isn’t real. No matter what he has done, Sami loves Lucas and will always go back to him. In addition, EJ can’t get past the rape himself. Whenever he looks at Sami and Johnny, part of him remembers that December night and the pain he caused. As long as EJ tries to force a relationship with Sami, he will not be free from his past. She will always represent Stefano’s control over him and the pain he caused to so many, including Sami. It will only by releasing Sami and moving on will EJ be able to find peace within himself and a balance between his two halves.
As a character, EJ is best when his wears a gray hat. He will never be the hero, but he also is not good at being a true villain. The problems is that the writers took him too far dark, then tried instantly redeem him into a hero. Stefano is a villain. John is a hero. EJ needs to find his own niche between them. EJ is capable of great love, but he can also be very naughty.
Days of Our Lives 10-16-2008
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://geocities.com/tirgana/Days10-16.pdf
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2820
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://geocities.com/tirgana/Days10-16.pdf
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2820
Sunday, October 12, 2008
Michigan-Tax Credits for Movie Makers
Will movie law boost last?
LANSING (AP) -- Six months after Michigan began handing out the nation's most generous moviemaking incentives, results are surpassing lofty expectations.
Studios that had planned to shoot elsewhere turned on a dime and flocked here, bringing stars such as Val Kilmer and Drew Barrymore with them. The number of scripts approved by the state film office is up 20-fold over last year. Hotels, caterers and other businesses are cashing in on new economic activity.
Somerset Inn in Troy hired 15 to 20 extra full-time workers to handle film crews after Clint Eastwood's Malpaso Productions booked office space and close to 90 rooms a night for most of the summer while filming "Gran Torino" across the Detroit area.
The hotel has welcomed smaller crews, too, and has solid leads on more movie industry clients for next year at a time conference hotels are losing dollars because of cutbacks in automotive sales seminars and the poor economy.
"It's incremental business we certainly wouldn't have had if they didn't sign this legislation," said Duane Swanson, Somerset Inn's operations director. "You couldn't ask for a better hotel guest to come in. They're not afraid to spend a buck."
Neither is state government -- to the chagrin of Republican lawmakers who are having second thoughts about the measure signed into law by Democratic Gov. Jennifer Granholm in April.
To entice filmmakers to choose Michigan over other competing states, the Legislature passed bills creating refundable tax credits of up to 42 percent for in-state movie production expenses.
Giving businesses tax credits is nothing new, and such credits can reduce a company's tax bill to little or nothing.
But refundable credits go further. They're more like a rebate for production expenses and can require the state to cut the moviemaker a check.
The Senate Fiscal Agency estimates the state has approved $394 million in production expenses that will cost the government $122 million after accounting for the sales and income tax revenue generated by film crews.
That's six times the increases of up to 2 percent the state gave public universities and community colleges this budget year.
Sen. Jud Gilbert, R-Algonac, said traditional Michigan businesses are paying higher taxes while "we turn around and send a check to somebody from Hollywood, some Pee-wee Herman type. I think that's very hard to justify."
Michigan Chamber of Commerce lobbyist Jim Holcomb said lawmakers should reduce the Michigan Business Tax -- to which a 22 percent surcharge was added to fill a budget deficit -- and "stop handing out unaffordable tax breaks to out-of-state Hollywood filmmakers who are unlikely to make Michigan their permanent business location."
But not every filmmaker is from Hollywood, and there's no doubt the incentives are bringing movie companies and jobs to the economically sluggish state.
Cinepro Pictures Studios was set to film "The Steam Experiment" in Florida because that's where the company is located. But it shot the independently produced thriller in Grand Rapids after hearing about the incentives.
"The decision was purely financial," said Karinne Behr, an executive producer of the movie starring Kilmer and Armand Assante. "Michigan's incentives are definitely the strongest. Hopefully that will be a great success story for the state. It's better to spend the money here than overseas."
Behr said $3 million of the movie's $7 million budget was spent in Michigan.
The Michigan Film Office has approved tax breaks for more than 60 movies this year and next. Just two or three films were made in 2007.
The question, it seems, is whether a truly lasting industry is being hatched in Michigan.
Critics depict the business as fleeting because other states may increase their incentives to keep pace. They say moviemakers like to bring in people from California and elsewhere to make the movies, and add that filmmaking accounts for a minuscule portion of Michigan's overall economy.
But in a state that has shed 479,000 payroll jobs -- 10 percent of its work force -- since state employment peaked in June 2000, anything that brings in jobs and new businesses is seen as a plus by many.
And while the state has nowhere near enough infrastructure to support all the new films, it's further along than Louisiana, New Mexico and Massachusetts were at this point when they began luring the industry, said Anthony Wenson, chief operating officer of the Michigan Film Office.
He pointed out that Michigan once made more commercials and industrial training films than anywhere in the world, and said existing studios are being transformed to welcome the motion picture business.
"Not only are we finding many people getting into the business for the first time but we're also seeing people who left the state to get into the industry moving back into Michigan," he said.
So far, the GOP-controlled Senate has been unable to get enough votes for a bill that would cap film credits at no more than $50 million a year. Granholm, Democrats and some Republicans fiercely oppose the measure and say the bipartisan law approved by all but one of 148 legislators needs time to work, even if it could cost the state.
Job training classes are being held for people interested in the business, and producers qualify for more tax breaks if they hire in-state grips, camera operators and other "below the line" crew.
The film office expects to talk with Michigan State University about potentially developing a film program. Anticipating more work, some smaller sound studios have announced plans to expand.
The state still is awaiting the arrival of big new soundstages that provide more efficient one-stop shopping for the production of movies and TV shows and could allow Michigan moviemaking year-round rather than seasonally.
But Wenson said the state is talking frequently with interested investors.
"The true measure will be two years into this," he said. "It's taken Louisiana almost four years to really pull together ... and be able to say, 'This is a true, viable industry in our state.' Michigan is in this for the long haul."
LANSING (AP) -- Six months after Michigan began handing out the nation's most generous moviemaking incentives, results are surpassing lofty expectations.
Studios that had planned to shoot elsewhere turned on a dime and flocked here, bringing stars such as Val Kilmer and Drew Barrymore with them. The number of scripts approved by the state film office is up 20-fold over last year. Hotels, caterers and other businesses are cashing in on new economic activity.
Somerset Inn in Troy hired 15 to 20 extra full-time workers to handle film crews after Clint Eastwood's Malpaso Productions booked office space and close to 90 rooms a night for most of the summer while filming "Gran Torino" across the Detroit area.
The hotel has welcomed smaller crews, too, and has solid leads on more movie industry clients for next year at a time conference hotels are losing dollars because of cutbacks in automotive sales seminars and the poor economy.
"It's incremental business we certainly wouldn't have had if they didn't sign this legislation," said Duane Swanson, Somerset Inn's operations director. "You couldn't ask for a better hotel guest to come in. They're not afraid to spend a buck."
Neither is state government -- to the chagrin of Republican lawmakers who are having second thoughts about the measure signed into law by Democratic Gov. Jennifer Granholm in April.
To entice filmmakers to choose Michigan over other competing states, the Legislature passed bills creating refundable tax credits of up to 42 percent for in-state movie production expenses.
Giving businesses tax credits is nothing new, and such credits can reduce a company's tax bill to little or nothing.
But refundable credits go further. They're more like a rebate for production expenses and can require the state to cut the moviemaker a check.
The Senate Fiscal Agency estimates the state has approved $394 million in production expenses that will cost the government $122 million after accounting for the sales and income tax revenue generated by film crews.
That's six times the increases of up to 2 percent the state gave public universities and community colleges this budget year.
Sen. Jud Gilbert, R-Algonac, said traditional Michigan businesses are paying higher taxes while "we turn around and send a check to somebody from Hollywood, some Pee-wee Herman type. I think that's very hard to justify."
Michigan Chamber of Commerce lobbyist Jim Holcomb said lawmakers should reduce the Michigan Business Tax -- to which a 22 percent surcharge was added to fill a budget deficit -- and "stop handing out unaffordable tax breaks to out-of-state Hollywood filmmakers who are unlikely to make Michigan their permanent business location."
But not every filmmaker is from Hollywood, and there's no doubt the incentives are bringing movie companies and jobs to the economically sluggish state.
Cinepro Pictures Studios was set to film "The Steam Experiment" in Florida because that's where the company is located. But it shot the independently produced thriller in Grand Rapids after hearing about the incentives.
"The decision was purely financial," said Karinne Behr, an executive producer of the movie starring Kilmer and Armand Assante. "Michigan's incentives are definitely the strongest. Hopefully that will be a great success story for the state. It's better to spend the money here than overseas."
Behr said $3 million of the movie's $7 million budget was spent in Michigan.
The Michigan Film Office has approved tax breaks for more than 60 movies this year and next. Just two or three films were made in 2007.
The question, it seems, is whether a truly lasting industry is being hatched in Michigan.
Critics depict the business as fleeting because other states may increase their incentives to keep pace. They say moviemakers like to bring in people from California and elsewhere to make the movies, and add that filmmaking accounts for a minuscule portion of Michigan's overall economy.
But in a state that has shed 479,000 payroll jobs -- 10 percent of its work force -- since state employment peaked in June 2000, anything that brings in jobs and new businesses is seen as a plus by many.
And while the state has nowhere near enough infrastructure to support all the new films, it's further along than Louisiana, New Mexico and Massachusetts were at this point when they began luring the industry, said Anthony Wenson, chief operating officer of the Michigan Film Office.
He pointed out that Michigan once made more commercials and industrial training films than anywhere in the world, and said existing studios are being transformed to welcome the motion picture business.
"Not only are we finding many people getting into the business for the first time but we're also seeing people who left the state to get into the industry moving back into Michigan," he said.
So far, the GOP-controlled Senate has been unable to get enough votes for a bill that would cap film credits at no more than $50 million a year. Granholm, Democrats and some Republicans fiercely oppose the measure and say the bipartisan law approved by all but one of 148 legislators needs time to work, even if it could cost the state.
Job training classes are being held for people interested in the business, and producers qualify for more tax breaks if they hire in-state grips, camera operators and other "below the line" crew.
The film office expects to talk with Michigan State University about potentially developing a film program. Anticipating more work, some smaller sound studios have announced plans to expand.
The state still is awaiting the arrival of big new soundstages that provide more efficient one-stop shopping for the production of movies and TV shows and could allow Michigan moviemaking year-round rather than seasonally.
But Wenson said the state is talking frequently with interested investors.
"The true measure will be two years into this," he said. "It's taken Louisiana almost four years to really pull together ... and be able to say, 'This is a true, viable industry in our state.' Michigan is in this for the long haul."
Sunday, October 5, 2008
Writing and Producing a Soap Opera
Writing and Producing Soap Operas
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Saturday, October 4, 2008
Daytime Soap Operas: Bringing Back Storylines Based on Suspense, Drama and Romance
Daytime Soap Operas: Bringing Back Storylines Based on Suspense, Drama and Romance
Saving Days of Our Lives
What Daytime Soap Operas have lost is the suspense, drama and romance that came from creative and unique storylines. Instead of focusing on the plots, the writers have chosen to fixate on sensationalism by seeing just how far they can go sexually on the screen. This has turned the shows into little more than glorified soft porn, without plots and character development. No longer do Fridays have cliffhangers that torture the viewer as they are kept anticipating what would happen on Monday, because the shows have become merely random scenes thrown together as excuses to show sex. They no longer have the continuity either in shows' history or with character development. The producers and writers no longer have regard for romance, family or humor as they concentrate on spreading forbidden love and graphic sex across the screen.
Unlike other entertainment mediums, soaps aren't meant to have a beginning, middle and end. The storylines were designed to be on a 13-week rotation, during which time the drama and suspense built to a conclusion for the good or ill of the primary characters. At about the half way point, the next primary storyline would be launched so that it would be ready to be moved to the front burner when the current one was completed. This format has made soaps successful for decades with extremely loyal fan bases that have been passed down from generation to generation.
Generally, there was one primary storyline, two secondary, one of which will be become the next primary, and several continuing character-developing plots that are used as filler. Although the primary storyline received the most airtime, the secondary and the filler plots were used to create scene breaks that generated tension and extended the story. Although very frustrating for the viewer to have the scenes suddenly cut at the height of the drama, it also kept her or him coming back. It is the same concept for the overlapping storylines. By the time, the first one has reached its conclusion, the viewer has already been hooked by the next storyline and the process begins again.
What the producers and writers don't realize is that they don't have to compete with cable by sexually titillating the viewers in order for the shows to gain ratings. The grandmothers and mothers, who made soaps popular on television didn’t call them soap operas, but considered them their stories. They had to run home or rush through their housework to watch “their stories“. The adventures and romances that the characters experienced is what kept them coming back five days a week. The cliffhanger Fridays left them speculating and talking about the soap over the weekend. In the time before VCRs, Mondays and Fridays were the most important days to soap viewer. Tuesday through Thursday built up the tension to that last five minutes on Friday. It was these last five minutes on Friday, when lives hung in the balance, as the gun was fired that set the tension that forced the viewer to tune in on Monday to learn whether the bullet hit or missed--if the character lived or died that gave soaps their popularity.
Some soaps didn’t wait for Fridays to torture their viewers. Dark Shadows kept their viewers on a very short leash. Every episode left the viewers hanging. In addition, they did not use flashbacks. If a view missed, they were simply screwed, which is why the viewers were so loyal. Dark Shadows never coasted when it came to their storylines. Their plots and characters were continually in forward motion. It is what kept their viewers loyal and miserable when they missed. Cancelled in 1970 due to protests by religious groups, Dark Shadow conventions are still very popular, usually selling out nearly immediately. The stars are still very beloved. When the Sci-fi channel was launched, Dark Shadows was one of its cornerstone programs, which gave it a whole new generation of fans.
The most popular and long lasting storylines aren’t the ones that involve sex, but the plots that touch people’s heart by making them laugh, cry or want to get involved. Days of Our Lives had two opportunities to deal with the emotional, spiritual and physical issues after rape. In one case, they had the victim have romantic feelings for her attacker. In the case of campus rapist, they dodged the emotional trauma of the victims by having them being involved with the rapist death. In both cases, the writers chose not to address the emotional trauma of the victims. The Autism story is shaping up in a similar way; instead of focusing on the stress, guilt and confusion of a family dealing with an autistic child, the writers talk about money issues. Falling in love, losing love or not being able to find love is the backbone of soap operas. But it is more than just leaping into bed. The romance in soap also involves the humor, misunderstandings, and confusion. It’s a long winding path with twist and turns that keep the characters and the viewers guessing that keeps the show popular.
The decline in the rating of the soap operas rests solely on the shoulders of the producers and the writers. The advancements on the technical side have given the special effects and sets more versatility, but it means nothing if the viewers don’t care about the characters or are bored with the stories. It is the reason the ratings have dropped, thereby affecting the revenues of the networks, which is why the genre is on the decline. It is not the fault of the viewer, the actors or the technical staff, but the powers that be who chose to flash over substance and sex over romance.
All of which brings me to the reason I am writing this. I have been a Days of Our Lives fan for decades. For the past few years, the quality in the writing has sharply decline to the point it is on the verge of being cancelled. Several months ago, I started writing an alternative universe for Salem in protest to the bad writing. It was posted on the NBC fan board, where suddenly it became very popular even though it was first draft and had errors in it. It wasn’t until the posters started asking me to submit it to the producers that I started taking it seriously. They said it was much better than what they were watching on their screens. I cleaned it up and sent it in. I want the Head Writer job. After the mess the current HW has made, I can’t promise to make Days number one again--I can’t even guarantee to keep it from being canceled. What I do promise is to return suspense, drama and romance to Days. I promise to torture the viewers with cliffhangers not only on Fridays, but also on as many days during the week as I’m allowed.
If you go to http://www.myspace.com/theresachaze, you can read what I have written thus far. If you like it and would like it on your screen, please contact the executive producers and ask them to hire writers who not only want Days to succeed, but who also have the creative talent to make it happen.
DAYS OF OUR LIVES
NBC Studios
3000 W. Alameda Ave
Burbank, CA 91523
Leave a message on the Days Hotline:
1-212-664-2333
Producers
Ken Corday, Executive Producer
Gary Tomlin, Executive Producer
c/o:
DAYS OF OUR LIVES
NBC Studios
3000 W. Alameda Ave
Burbank, CA 91523
Phone: 1-818-840-4444 (main switchboard)
Fax: 1-818-840-4968
Saving Days of Our Lives
What Daytime Soap Operas have lost is the suspense, drama and romance that came from creative and unique storylines. Instead of focusing on the plots, the writers have chosen to fixate on sensationalism by seeing just how far they can go sexually on the screen. This has turned the shows into little more than glorified soft porn, without plots and character development. No longer do Fridays have cliffhangers that torture the viewer as they are kept anticipating what would happen on Monday, because the shows have become merely random scenes thrown together as excuses to show sex. They no longer have the continuity either in shows' history or with character development. The producers and writers no longer have regard for romance, family or humor as they concentrate on spreading forbidden love and graphic sex across the screen.
Unlike other entertainment mediums, soaps aren't meant to have a beginning, middle and end. The storylines were designed to be on a 13-week rotation, during which time the drama and suspense built to a conclusion for the good or ill of the primary characters. At about the half way point, the next primary storyline would be launched so that it would be ready to be moved to the front burner when the current one was completed. This format has made soaps successful for decades with extremely loyal fan bases that have been passed down from generation to generation.
Generally, there was one primary storyline, two secondary, one of which will be become the next primary, and several continuing character-developing plots that are used as filler. Although the primary storyline received the most airtime, the secondary and the filler plots were used to create scene breaks that generated tension and extended the story. Although very frustrating for the viewer to have the scenes suddenly cut at the height of the drama, it also kept her or him coming back. It is the same concept for the overlapping storylines. By the time, the first one has reached its conclusion, the viewer has already been hooked by the next storyline and the process begins again.
What the producers and writers don't realize is that they don't have to compete with cable by sexually titillating the viewers in order for the shows to gain ratings. The grandmothers and mothers, who made soaps popular on television didn’t call them soap operas, but considered them their stories. They had to run home or rush through their housework to watch “their stories“. The adventures and romances that the characters experienced is what kept them coming back five days a week. The cliffhanger Fridays left them speculating and talking about the soap over the weekend. In the time before VCRs, Mondays and Fridays were the most important days to soap viewer. Tuesday through Thursday built up the tension to that last five minutes on Friday. It was these last five minutes on Friday, when lives hung in the balance, as the gun was fired that set the tension that forced the viewer to tune in on Monday to learn whether the bullet hit or missed--if the character lived or died that gave soaps their popularity.
Some soaps didn’t wait for Fridays to torture their viewers. Dark Shadows kept their viewers on a very short leash. Every episode left the viewers hanging. In addition, they did not use flashbacks. If a view missed, they were simply screwed, which is why the viewers were so loyal. Dark Shadows never coasted when it came to their storylines. Their plots and characters were continually in forward motion. It is what kept their viewers loyal and miserable when they missed. Cancelled in 1970 due to protests by religious groups, Dark Shadow conventions are still very popular, usually selling out nearly immediately. The stars are still very beloved. When the Sci-fi channel was launched, Dark Shadows was one of its cornerstone programs, which gave it a whole new generation of fans.
The most popular and long lasting storylines aren’t the ones that involve sex, but the plots that touch people’s heart by making them laugh, cry or want to get involved. Days of Our Lives had two opportunities to deal with the emotional, spiritual and physical issues after rape. In one case, they had the victim have romantic feelings for her attacker. In the case of campus rapist, they dodged the emotional trauma of the victims by having them being involved with the rapist death. In both cases, the writers chose not to address the emotional trauma of the victims. The Autism story is shaping up in a similar way; instead of focusing on the stress, guilt and confusion of a family dealing with an autistic child, the writers talk about money issues. Falling in love, losing love or not being able to find love is the backbone of soap operas. But it is more than just leaping into bed. The romance in soap also involves the humor, misunderstandings, and confusion. It’s a long winding path with twist and turns that keep the characters and the viewers guessing that keeps the show popular.
The decline in the rating of the soap operas rests solely on the shoulders of the producers and the writers. The advancements on the technical side have given the special effects and sets more versatility, but it means nothing if the viewers don’t care about the characters or are bored with the stories. It is the reason the ratings have dropped, thereby affecting the revenues of the networks, which is why the genre is on the decline. It is not the fault of the viewer, the actors or the technical staff, but the powers that be who chose to flash over substance and sex over romance.
All of which brings me to the reason I am writing this. I have been a Days of Our Lives fan for decades. For the past few years, the quality in the writing has sharply decline to the point it is on the verge of being cancelled. Several months ago, I started writing an alternative universe for Salem in protest to the bad writing. It was posted on the NBC fan board, where suddenly it became very popular even though it was first draft and had errors in it. It wasn’t until the posters started asking me to submit it to the producers that I started taking it seriously. They said it was much better than what they were watching on their screens. I cleaned it up and sent it in. I want the Head Writer job. After the mess the current HW has made, I can’t promise to make Days number one again--I can’t even guarantee to keep it from being canceled. What I do promise is to return suspense, drama and romance to Days. I promise to torture the viewers with cliffhangers not only on Fridays, but also on as many days during the week as I’m allowed.
If you go to http://www.myspace.com/theresachaze, you can read what I have written thus far. If you like it and would like it on your screen, please contact the executive producers and ask them to hire writers who not only want Days to succeed, but who also have the creative talent to make it happen.
DAYS OF OUR LIVES
NBC Studios
3000 W. Alameda Ave
Burbank, CA 91523
Leave a message on the Days Hotline:
1-212-664-2333
Producers
Ken Corday, Executive Producer
Gary Tomlin, Executive Producer
c/o:
DAYS OF OUR LIVES
NBC Studios
3000 W. Alameda Ave
Burbank, CA 91523
Phone: 1-818-840-4444 (main switchboard)
Fax: 1-818-840-4968
Days of Our Lives Spoiler: Murder in Salem That Will be No Mystery
Days of Our Lives Spoiler: Murder in Salem That Will be No Mystery
Murder in Salem That Will Be No Mystery
Days of our Lives is setting up the murder of Trent. The suspects have already been lined up; each threatening to kill him for their own reasons. But in short, who cares?
Trent Robbins is a physics professor who appears in Salem initially to be Nick's advisor. However, later it is learned that he is Max's biological father and part of Nicole's past. In the months Trent has been on the air, he has gone from being a dead beat dad to someone who would pimp out his daughter to pay his gambling debts. Along the way he has pissed off a good portion of the Salemites.
Recently, it was released that the character would be murdered (Again, I say-who cares?) and Salem will be embroiled in a great murder mystery. However, there will not be much mystery for those who are long time soap fans. The writers have already telegraphed their moves.
The suspects:
Max Brady--He hated Trent for deserting him as a child and abusing his mother. In addition, after he found his half-sister, he learn that Trent attempted to pimp her out to pay his gambling debt.
Melanie--Trent's daughter now hates him for lying about having a brother and using her to try to pay his debts.
Caroline Brady--Max is her son, even if she didn't give birth to him. Trent hurt and continues to hurt him. Like any Mama Bear, she is rising up to protect her young.
Nick--Trent is threatening to expose Max's help in receiving Nick's grant, thereby discounting all of Nick's work, which would cost him his grant.
John Black-DiMera--Trent made the moves on Marlena, which triggered John's jealousy. John is becoming increasing unstable; the blackouts are just around the corner, opening the door to John not remembering what he did during the time Trent was murdered.
Marlena Black--Trent has been harassing her trying to force he into a relationship. She has repeatedly told him to buzz of, but like any pest he didn't listen, so she has threatened to squash him.
Nicole--Trent used and abused her in the past, deserting her when she needed him the most. From the get-go she hated him. However, that hate deepened the more he manipulated her. He revealed that he had never divorced her, which meant that she was never legally married to Victor. The revelation cost her the divorce settlement.
The unnamed bookie--It has been revealed that Trent is a compulsive gambler, who is heavy into debt to those who break legs for fun.
All of those listed above have threatened to kill Trent; hence the so called murder mystery. However, there isn't a mystery.
Caroline will think Max did it so she will try to cover it up. implicating himself.
Max will think Melanie did it so he will try to cover it up, implicating himself.
Stephanie will think Max did it so she will lie and in doing so make Max look more guilty. She will has her Papa to find the real killer. Steve PI will be led to the gambling underworld where he will unravel Trent's gambling history.
Nick will be a suspect because of his motive as well as he will be seen in the area; however, he will be quickly moved from the suspect list to the witness list.
Chelsea will come to his defense, trying to get Nick back. She will lie in order to give Nick an alibi that he doesn’t actually need; thereby, putting him back on the suspect list.
John will see Trent threatening/making another pass at Marlena. Marlena and Trent will fight. Marlena will be knocked unconscious. When she wakes up, John will be incapacitated-either unconscious or in a trance. Trent will be dead. Marlena will get John out of there, thinking he killed Trent. She will be briefly be a suspect. John won’t remember anything until the crucial moment when he gets his memory back.
Nicole will be a prime suspect because of the money and the marriage. However, EJ will come to her rescue when he digs in to Trent’s past and learns that yes they were divorced and Victor still has to give her the money. However, this will happen after there is some question about Trent being the father of Nicole’s baby and EJ revealing that he doesn’t care--he loves her anyway.
However, the identity of the murder will come will come out of left field. Steve’s investigation will lead him into the gambling underworld; however, it will also reveal Melanie’s mother and the true murderer . Melanie’s mother will appear in town if she isn’t there already. No it isn’t Nicole. But a meek, mousy woman who has been abused by Trent for years. She will finally gain the backbone to put an end to Trent’s abusing her daughter by killing him dead.
Murder in Salem That Will Be No Mystery
Days of our Lives is setting up the murder of Trent. The suspects have already been lined up; each threatening to kill him for their own reasons. But in short, who cares?
Trent Robbins is a physics professor who appears in Salem initially to be Nick's advisor. However, later it is learned that he is Max's biological father and part of Nicole's past. In the months Trent has been on the air, he has gone from being a dead beat dad to someone who would pimp out his daughter to pay his gambling debts. Along the way he has pissed off a good portion of the Salemites.
Recently, it was released that the character would be murdered (Again, I say-who cares?) and Salem will be embroiled in a great murder mystery. However, there will not be much mystery for those who are long time soap fans. The writers have already telegraphed their moves.
The suspects:
Max Brady--He hated Trent for deserting him as a child and abusing his mother. In addition, after he found his half-sister, he learn that Trent attempted to pimp her out to pay his gambling debt.
Melanie--Trent's daughter now hates him for lying about having a brother and using her to try to pay his debts.
Caroline Brady--Max is her son, even if she didn't give birth to him. Trent hurt and continues to hurt him. Like any Mama Bear, she is rising up to protect her young.
Nick--Trent is threatening to expose Max's help in receiving Nick's grant, thereby discounting all of Nick's work, which would cost him his grant.
John Black-DiMera--Trent made the moves on Marlena, which triggered John's jealousy. John is becoming increasing unstable; the blackouts are just around the corner, opening the door to John not remembering what he did during the time Trent was murdered.
Marlena Black--Trent has been harassing her trying to force he into a relationship. She has repeatedly told him to buzz of, but like any pest he didn't listen, so she has threatened to squash him.
Nicole--Trent used and abused her in the past, deserting her when she needed him the most. From the get-go she hated him. However, that hate deepened the more he manipulated her. He revealed that he had never divorced her, which meant that she was never legally married to Victor. The revelation cost her the divorce settlement.
The unnamed bookie--It has been revealed that Trent is a compulsive gambler, who is heavy into debt to those who break legs for fun.
All of those listed above have threatened to kill Trent; hence the so called murder mystery. However, there isn't a mystery.
Caroline will think Max did it so she will try to cover it up. implicating himself.
Max will think Melanie did it so he will try to cover it up, implicating himself.
Stephanie will think Max did it so she will lie and in doing so make Max look more guilty. She will has her Papa to find the real killer. Steve PI will be led to the gambling underworld where he will unravel Trent's gambling history.
Nick will be a suspect because of his motive as well as he will be seen in the area; however, he will be quickly moved from the suspect list to the witness list.
Chelsea will come to his defense, trying to get Nick back. She will lie in order to give Nick an alibi that he doesn’t actually need; thereby, putting him back on the suspect list.
John will see Trent threatening/making another pass at Marlena. Marlena and Trent will fight. Marlena will be knocked unconscious. When she wakes up, John will be incapacitated-either unconscious or in a trance. Trent will be dead. Marlena will get John out of there, thinking he killed Trent. She will be briefly be a suspect. John won’t remember anything until the crucial moment when he gets his memory back.
Nicole will be a prime suspect because of the money and the marriage. However, EJ will come to her rescue when he digs in to Trent’s past and learns that yes they were divorced and Victor still has to give her the money. However, this will happen after there is some question about Trent being the father of Nicole’s baby and EJ revealing that he doesn’t care--he loves her anyway.
However, the identity of the murder will come will come out of left field. Steve’s investigation will lead him into the gambling underworld; however, it will also reveal Melanie’s mother and the true murderer . Melanie’s mother will appear in town if she isn’t there already. No it isn’t Nicole. But a meek, mousy woman who has been abused by Trent for years. She will finally gain the backbone to put an end to Trent’s abusing her daughter by killing him dead.
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