
Its creator, Irna Phillips, was often called "the queen of soaps". She was so influential in the field that she was compared with Frank and Anne Hummert, though the comparison was weak. While the Hummerts employed a huge stable of writers and turned out dozens of serials, Phillips wrote her own-two million words of it each year. Using a large month-by-month work chart, Phillips plotted up to half a dozen serials at once, dictating the action to a secretary. Mentally juggling the fates of scores of characters, she churned out quarter-hour slices of life in sessions filled with high drama, acting the parts and changing her voice for the various speaking roles, while secretaries scribbled the dialogue that flowed from her lips.
She gave up teaching early in life to enter radio as an actress at Chicago's WGN. She was 25 that year, 1930. In 1932 she began to write. She discovered that cliffhanger endings were surefire for bringing those early audiences back to their sets each day, but that slow and skillful character development was what kept the audience for years. She decided that the organ was the ideal musical instrument for those little shows and that the instrument should be played with pomp and power, with all the authority of a religious service in a great European cathedral. The music gave weight to the dialogue, which was usually focused and intense.
A Phillips serial (in contrast to the jerky, obvious, and corny melodramas of the Hummerts) usually contained just one main scene in each installment, peopled by only two characters. Her scenes were sparse, the settings lean, the people clear without the endless repetition of names that filled a Hummert soap. Phillips was the first se- rial writer to effectively blend her soaps. Her popular Today's Children was phased out of its first run in 1938 by having its characters sit around the radio and listen to The Woman in White, which replaced it. When three of her soaps were scheduled consecutively and spon- sored by General Mills in 1944, Phillips expanded this idea of integrated storylines. The major characters of the resurrected Today's Children drifted through The Guiding Light, and mutual visits with The Woman in White were also common. Ed Prentiss, who was then playing Ned Holden of The Guiding Light, was used as a "master of ceremonies" for the hour, a guide through the intricate framework of the three soaps. The fourth quarter-hour was filled with nondenominational religious music, Hymns of All Churches. At one time during this period, Phillips was considering breaking the traditional lengths, running stories of ten to 20 minutes each rather than the precise quarter-hours. After a season of this experimenting, the block was dismantled, and The Guiding Light went into its postwar phase. John Dunning