For soap writers........

If the inmate is able to convince their psychologist that the surgery is necessary for their mental well-being, they may have a shot at it. Particularly if Jailbird's injury was the prison's fault. :)
 
If the writers are looking for a way to justify Rafe's return to the FBI, today's news provides it. In a N.Y. Times article entitled "Battling Crime and Calories at F.B.I. (Fit Bureau of Investigation)," an FBI official is quoted as saying: "I want the American people to be able to take one glance at you and think, 'THERE is a special agent of the Federal Bureau of Investigation.'" Who fits the image of a fit agent better than the handsome, muscular Rafe? With out-of-shape agents flunking the fitness test, the time would be right for the Bureau to ask Rafe to return. Who knows, perhaps the news that Rafe is back with the FBI might just be enough to cause Clyde and Jeremiah to wet their jeans and flee back to Poplar Bluff.
 
I like a lot of the story ideas already presented. And I'm on record saying I find this an unending quagmire and my best option would be a reset. But I really think that would be more of a disservice to the fans, so, I'd hope to see something along these lines....

STRUCTURE & TIMING. A forward flow. Act 1 & 2 daytime, Act 3 noon/lunch, Act 4 afternoon, 5, 6 evening (I think I counted those acts right). Cliffhangers get resolved in the opener the next day. Conversations convey information from one person to another. The next day, new conversations take place between the same people ("I thought about what you said yesterday,") OR new people are in the conversation ("I was talking to Daniel yesterday, he thinks...but I think...") and information continues to be conveyed anew.

People start using temporal terms, like "Last night I spoke to so-and-so." With a few exceptions, 1 day = 1 show. This would also allow us to see people at work, and at play. (This was how I structured my fan fiction "episodes".) I'll admit this structure would be harder to summarise, but if done well, keeps the story moving and keeps folks from falling out of the loop too quickly if they miss a few shows.

CHARACTERISATION. Consistent. How does this character react to this situation? How can I create the drama of a failed business, without forgetting what I already know about a character's business acumen? If I "know" this character after watching him for years, will I believe his reaction to this turn/change/secret?

Diverse. I'd really like to see a character who doesn't go to church when everyone else does, or one who goes to a different church. I'd like to see people pray (or not) based on their characterisation and not what the plot demands at the moment. I'd like to see little disagreements based on big issues, but not just as plot points. As character traits. They can evolve, but not change suddenly.

Intelligent. I want to see characters I can root for, who make the plot move forward by putting 2+2 together. Characters who stand up for themselves, who realise that most things in this life are temporary, and who move forward from bad situations.

FAMILY/CASTING. I want to see Bradys, Hortons, Reeds, Blacks, DiMeras, Kiriakii, Johnsons, Deveraux, Ramirez, Donovans, Hernandez, Lombards. Cycle in and out a little more. Maybe April is the month of Hortons, Reeds, and Ramirez; then in May/June, the Johnsons are moving the story. (This is the least realistic of all, as having actors available is a big issue. But this is my dream list, so I'll include it.)
 
Frankie comes back to town to confront Eve. He found out from Paige's "father" that he was not really her father and that it's possible Frankie is. Eve doesn't want Paige to get tested. Paige isn't sure because she doesn't really know Frankie but finally agrees to the test and he is her father.
 
The thing is...a show is 37 minutes long. That is all. It is not an hour, it is 37 minutes. When you are dealing with 10 characters or more, within that 37 minutes, sort of hard to do morning, noon and night. For instance, on April 6 (Monday) it was morning. Jen had just gotten up, finding JJ who did not sleep well. Melanie was having coffee with dad, off to work. Xander was having coffee in the club, joined by Serena, and then Eric. Eve was calling Cole, who was school with Paige. Theresa arrives, both go to the church clothing drive to help for the day, Maggie is there. Nicole goes to see Brady at the Kmansion, while Melanie shows up at work, talks to Maxine and Jorge. If I counted right, that is 16 characters, in those 37 minutes. But at least Maxine, Jorge & Mel were at work. LOL

But day to day, week to week. I would like shorter periods for stories to last. And before they start, there is a well thought out, beginning, middle and end. If it is thought out and planned well BEFOREhand, perhaps nothing "stupid" will occur. And I guarantee you, if I was the headwriter, I would be noting on scripts that it is winter, or windy, or raining, or it is a lovely Spring day, hot summer one, crispy fall one, frigid winter. and characters should be wearing clothes appropriate for that weather in the midwest. LOL
 
Yes, in my haste to beautify myself, I forgot to mention the Winter/Summer/Fall thing. Thanks Poirot.

Another thing I'd like to see is "Little Nothings." Some of the older soaps (1960s/1970s) did this. Things would be mentioned, but not carried out on (e.g., "Got a call from cousin so-and-so today..."). BUT maybe used much, much later (when some later writer thought, "Hey, we could do something with that!"). I realise they're pressed for time, but it would be nice if once in a while the call interrupting the "big reveal" were from someone we hadn't seen in awhile, so they "have" to take it. :)

Another example would be the things we all mention...carrying plot points through AFTER their purpose has been served (e.g., Sonny might mention he did the hospital coffee run this AM, or he asked Tad to do it, or they cancelled it, etc). A stronger sense of "realistic" continuity.
 
Love "little nothings" Jason. I used to love watching shows like OLTL that would show the characters as the credits rolled at the end. It's like you got to see them after the show was over lol. Like seeing a character just walk around their house, pick up a photo or even water a plant. LOVED that. Guess I am easily amused :)
 
After the show's 50th and Bo makes peace with Hope and Ciara for being gone so long, he leaves Salem but promises to drop by in person from time to time to check in on Ciara. But then word comes that Bo has been killed, Hope is devastated, cue heartbroken teen Ciara. But instead of consoling her mother and sharing in her grief, Ciara turns against her mother and lashes out at her (and Aiden) for staying with him and not taking Bo back.

Teen Theo and Chase empathize, both having lost one parent, and try to comfort Ciara but to no avail. So Hope manages to get Shawn-Douglas to finally come home for support, and to help his mother with his hellion sister. Shawn tries to get through to Ciara to have some compassion for their mom, who is also in mourning as much as they are. Ciara reluctantly sort of forgives her mom and Aiden, but not really. She carries bitterness and anger for a long time, causing her to act out in despicable ways and try to find love with shady boys/men.

Ciara constantly butts heads with Shawn (for defending their mother), and Chase (for defending his father). Hope and Ciara's mother/daughter relationship becomes more and more volatile (kind of like Marlena and Sami). Ciara trashes her own mother and Aiden almost every chance she gets. To make matters worse, Hope becomes pregnant with Aiden's child (well, if Kristen is considered able to carry Theresa and Brady's baby to term) and gives birth to a healthy baby girl.

Ciara is hurt and jealous over her mother showering her baby sister with warmth and attention that she feels she is no longer getting much of from her mother. And then somewhere down the road, Bo could turn up alive, causing all kinds of drama and other issues.

edited to write out Theresa and Brady's names - combo names ARE NOT permitted on this board - JS
 
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