I promised the fans at the NBC boards that I would finish with a storyline that most of them wanted but the show denied them. Tony and Anna's fans will particularly enjoy it. It's called the Wedding and will be in two parts.
http://elfmagic.blogspot.com/
Showing posts with label writing for soap opera. Show all posts
Showing posts with label writing for soap opera. Show all posts
Tuesday, March 24, 2009
Saturday, October 11, 2008
I want to Be the Head Writer of Days of Our Lives
For generations Days of Our Lives has been not only much loved but the top rated Daytime soap, being the leader in suspense, drama, romance, and comedy, as well as social issues. As the sand fell through the hour glass, we laughed, cried and waited with baited breath for Monday as the cliffhanger left us dangling on Friday. We had a our favorite heroes and villains--couples we cheered for and those we knew who were doomed for failure. When it became clear that the writers no longer had a clear understanding of the characters and history, I started writing my own storylines, which brought back the romance, suspense and drama that Days was well known for.
To read the viewers reviews and script go to http://elfmagic.blogspot.com/
To read the viewers reviews and script go to http://elfmagic.blogspot.com/
Sunday, October 05, 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.
Sunday, August 03, 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
Ed Scott, 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
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
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
Ed Scott, 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
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
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