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maintaining a Manhattan penthouse and a Long Island country home; writing short stories for “slick” mags, full length stage plays, and TV dra¬ mas. When she is far enough ahead of her scripts she’s apt to take off for Europe to visit her married daughter who lives in Paris. The Queen has a stock reply when friends ask her where she gets the energy. “I don’t know, dear,” she says with a disarm¬ ing brand of humor, “it must be a slipping gland.” No one in the business is more aware of what might be called the soap opera stigma. “Being termed Queen of the Soap Opera,” says Her Majesty, “is like being elected Miss Spun Aluminum Fishbucket of 1953. ‘Soap Opera’ has a perfectly dreadful connotation for most people—espe¬ cially the critics. But I rather like it. It has a kind of homey, down-to- earth sound and listeners have com¬ pletely latched on to the phrase.” Mrs. Carrington is proud of her profession, though she has no illu¬ sions that soap opera is high art. “But,” she adds, “soap operas needn’t hang their heads. They have a defi¬ nite place and they frequently con¬ tain profound wisdom. For instance, we dramatized the care that wounded soldiers got overseas. This relieved many women who were wrecks won¬ dering about their boys. Once we had a sequence giving advice to pregnant women who feared having their first baby. There were thousands of re¬ quests for reprints of this script and just as many letters expressing their thanks for this type of soap opera counsel. “Also it’s bosh to believe that our audience is made up of neurotic women seeking an ‘out’ in life. Our greatest response is from young col¬ lege-educated women, fine American housewives who don’t come down with emotional traumas every week.” The eight million words spawned by Elaine Carrington are the most respected in a field where most TV and radio potshots find their mark. Critics, who have a field day roasting radio’s soapers, usually reserve a few kinder words for Pepper Young’s Family or When A Girl Marries.