SOAP OPERA CONVENTIONSThough the casts for soap operas tend to be bigger than for drama series, there is a limit to the number of characters available at any one time. This allows the soap to focus on a smaller number of characters, thus allowing more time to be spent on each, so that the audience knows them better and the storylines can be more detailed and involved,

The plots are open-ended and usually

many storylines are featured or even interlinked in an

episode. Often they follow the same issue, with, for example, two

characters dealing with the break-up of a

relationship. The storylines in these cases run parallel

It features continuous

storylines (or 'narratives') dealing

with domestic themes and

personal or family relationships.

A British soap opera almost always features the following conventions:It is a serialised drama that usually runs week-in, week-

out, all year round.

British soaps most often feature common, ordinary, working class characters, in stark contrast to American soaps, which tend to deal with richer, flashier, more fantasy-inspired characters, reflecting the preferences of their respective target audiences.As a rule, British soaps are realistic or, at least, aim for realism

Three, four or even five storylines will be in progress during any one episode, with the action switching between them. As one narrative is resolved, another completely different one with different characters will already be underway.

Music and Camerawork

Other than the theme tune, music is rarely used in British soaps; occasional cliff hangers may have a 'stock' piece of background music that will then segue into the closing theme, or else the music is in the background being played on a radio or jukebox. Occasionally, the production team might select a particularly well-chosen song for the purposes of dramatic irony. If one character is contemplating ending a relationship, for example, the audience might hear 'You've Lost That Loving Feeling' playing on a nearby radio.Lighting varies from soap to soap, but generally it remains pretty basic - special effects are not used. This helps to create realistic light levels and adds to realism. Camera work is simplistic and generally avoids tricks of any kind: 'point of view' or 'high angle' shots are rarely used in soaps. The camera shows the action very much as a casual observer would see it if they were watching from nearby. Scenes are generally short, to avoid the audience becoming bored - two minutes or so is considered to be the maximum viewing time for one scene. 

Settings and Storylines

British soaps tend to have a strong regional identity - for example, Eastenders is set in the East End of London, while Manchester is the setting for Coronation Street. This is not just to attract viewers from that area, but also to make it more realistic. The area in which the soap is set also has an effect on its plotting and characters; soaps set in rural areas are usually more community-based and have fewer characters than in a larger, urban-set soap.Again, British soaps are deeply community based and usually have a central meeting point (often a pub) where all the characters meet. To draw on the examples of the two most popular British soaps: 'The Queen Vic' from Eastenders and 'The Rover's Return' pub from Coronation Street. These meeting points are featured in every episode and are often the settings for major events in the history of the soap. Their important position in the soap makes them symbols of that soap, and fans visit from far and wide to view this meeting point in real life.

Albert Square-

Eastenders

Weather field-

Coronation Street

Appeal Of Soaps Many people watch soaps because it pleases us to see and hear other people's

problems, which in turn distracts us from our own. However, a soap opera has no real victims as the characters, of course, are fictional. However, we like to make guesses about their actions and reactions based on our knowledge of them. We like to see them develop as we get to know them and we enjoy learning about the complex relationships between characters. We become semi-experts on our favourite soaps, and our encyclopaedic knowledge of them, fuelled by the above points, gives us great pleasure. In a voyeuristic manner, we like to watch other people's lives, as, in the case of soap operas, they are just like ours, but more interesting.

From the point of view of broadcasters, soaps are good because they are very cheap to produce, yet have huge audiences and can, therefore, generate huge revenues. They can often run for years without coming to an end - Coronation Street is more than 40 years old. Sets are used again and again, special costumes are not required and little or no location filming is ever needed. They are also quick to produce - each minute of recording taking only one hour to film. This may sound like a lot, but on film sets, it can often take days just to successfully direct a mere few seconds of action. Not all soap operas are successful - there are some which do not catch the interest of the viewers and end up being dropped after a few years (sometimes less). Albion Market and the revival(s) ofCrossroads are examples of these.

Channels maintain an unspoken agreement that their soaps are not scheduled for the same time. This is because a planned ratings war would not help either broadcaster, as has been proven by past experience.