Marlowshpere Blog (#124)

The last three blogs (#121, #122 and #123) took an overall look at job growth/job prospects for those in the so-called “creative class.” In this blog I take a specific look at those wishing to enter the fields of writing (or the literary arts), editors, and journalism:

• Writers & Authors: +3%
• Editors: -2%
• Journalism: Reporters, Correspondents, and Broadcast News Analysts: -13-14%

To reiterate what I stated in the last blog, if any conclusion can be drawn from the numbers in this group of “creative class” disciplines, it is this: there is an ongoing seismic shift away from the printed word (and what it takes to create works with printed words) towards the dominance of the visual image, generally speaking.

In a way, though, the numbers are somewhat deceiving. As the descriptions below will attest, the significant drop in job prospects for editors, reporters, correspondents and broadcast news analysts is primarily due to the shift away from news-on-paper to news-on-bytes. One need only take a look at the shrinkage in the number of newspapers in the United States as the Internet has grown in penetration to come to the obvious conclusion that editorial and journalism positions have been lost in the print world. And where have they gone? To the online news business.

But there is a major wrinkle. As Scott Timberg readily points out in his book Culture Crash (Yale University Press 2015), the financial aspects of editing and/or reporting online is far different from the legacy print world. In fact, more than a few former “print” professionals are working for far less, some for nothing. It is not a one-for-one shift. There is a true loss of positions and financial wherewithal. And what positions do exist are going to those with multimedia skills and experience, but not necessarily “life” or “analytical” experience—again, a reflection of the shift from the printed word to the visual image.

And there are two other ramifications:

First, it seems to be forgotten that while the visual image has become more dominant that the creation of visual content still requires the written word, i.e., a good television program, film, or live show still requires the written word on a page. And if the written word doesn’t look good on the page—or in this case, on the computer screen—it won’t look good on the television or film screen, or in live performance, regardless of wondrous special effects, costumes, and lighting—the visual aspects.

Second, the loss of journalists due to the loss of print or broadcast venues (and in this context we can include cable news) has longer term ramifications for democracy. The analysis of political and economic events provided by competent journalists for public consumption is part and parcel of the choices an electorate makes come time for elections. As many other organizations have documented, a free press is a necessary major component of a functioning democracy. Where there is no free press—free to observe and comment on the government, both good and bad—there is no democratic process, or, at the very least, there is a pretense of a democratic society.

As with the previous three blogs, the following Job Growth/Job Prospects descriptions are taken directly from the “Occupational Outlook Handbook” (online) of the U.S. Bureau of Labor Statistics, Employment Projections program.
 
Writers & Authors: +3%
 
Employment of writers and authors is projected to grow 3 percent from 2012 to 2022, slower than the average for all occupations.

Despite slower-than-average employment growth, online publications and services are growing in number and sophistication, spurring demand for writers and authors with Web and multimedia experience.

Some experienced writers should find work in the public relations departments of corporations and not-for-profit organizations. Others will likely find freelance work for newspaper, magazine, or journal publishers, and some will write books.

Strong competition is expected for most job openings, given that many people are attracted to this occupation. Competition for jobs with established newspapers and magazines will be particularly strong because employment in the publishing industry is projected to decline.

Writers and authors who have adapted to online media and are comfortable writing for and working with a variety of electronic and digital tools should have an advantage in finding work. The declining costs of self-publishing, the growing popularity of electronic books, and the increasing number of readers of electronic books will allow many freelance writers to have their work published.
 
Editors: -2%
 
Employment of editors is projected to show little or no change from 2012 to 2022, as print media continue to face strong pressure from online publications.

Despite some job growth for editors in online media, the number of traditional editing jobs in print newspapers and magazines is declining and will temper overall employment growth.

Competition for jobs with established newspapers and magazines will be particularly strong because the publishing industry is projected to decline in employment. Editors who have adapted to online media and are comfortable writing for and working with a variety of electronic and digital tools should have an advantage in finding work. Although the way in which people consume media is changing, editors will continue to add value by reviewing and revising drafts and keeping the style and voice of a publication consistent.

Journalism: Reporters, Correspondents, and Broadcast News Analysts: -13-14%
 
Employment of reporters, correspondents, and broadcast news analysts is projected to decline 13 percent from 2012 to 2022. Employment of reporters and correspondents is projected to decline 14 percent while employment of broadcast news analysts is projected to show little or no change. Declining advertising revenue in radio, newspapers, and television will negatively impact the employment growth for these occupations.

Readership and circulation of newspapers are expected to continue to decline over the next decade. In addition, television and radio stations are increasingly publishing content online and on mobile devices. As a result, news organizations may have more difficulty selling traditional forms of advertising, which is often their primary source of revenue.

Declining revenue will force news organizations to downsize and employ fewer journalists. Increasing demand for online news and podcasts (audio or video digital media files that can often be downloaded from a website) may offset some of the downsizing. However, because online and mobile ad revenue is typically less than print revenue, the growth in digital advertising may not offset the decline in print advertising, circulation, and readership.

News organizations also continue to consolidate and increasingly share resources, staff, and content with other media outlets. Reporters are able to gather and report on news for multiple media stations owned by the same corporation, while television stations reuse news and material already gathered by other stations and reporters. As consolidations, mergers, and news sharing continue, the demand for journalists may decrease.

Following a merger or content-sharing agreements, some news agencies may reduce the number of reporters and correspondents on staff. However, in some instances, consolidations may help limit the loss of jobs. Mergers may allow financially troubled newspapers, radio stations, and television stations to keep staff because of increased funding and resources from the larger organization.

Reporters, correspondents, and broadcast news analysts are expected to face strong competition for jobs, because of both the number of workers who are interested in entering the field and the projected employment declines of both occupations. Those with experience in the field—experience often gained through internships or by working for school newspapers, television stations, or radio stations—should have the best job prospects.

Multimedia journalism experience, including shooting and editing pieces, should also improve job prospects. Because stations are increasingly publishing content on multiple media platforms, particularly on the web, employers may prefer applicants who have experience in website design and coding.

In addition, opportunities will likely be better in small local newspapers or television and radio stations. Competition will be particularly strong in large metropolitan areas, at national newspapers with higher circulation figures, and at network television stations.

If you have any questions or comments about this or any other of my blogs, please write to me at
meiienterprises@aol.com.

Eugene Marlow, Ph.D.
June 15, 2015

© Eugene Marlow 2015

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Marlowsphere Blog (#118)

One hundred and seven guest speakers, 26 sessions, 5 meeting spaces—all in one place in one day.

On February 22, 2015,  400+ registrants from various aspects of the dance world—policymakers, advocates, funders, artists, managers, scholars, and audiences, mostly from New York City—gathered for the sixth annual Dance/NYC Symposium held this year at the brand new Gibney Dance Center at 280 Broadway.  The number of participants was impressive given that Dance/NYC, led ably by Executive Director Lane Harwell and his staff, and a host of volunteers, describes the performing art form as having 1,200+ dance makers and companies in the New York City metropolitan area.

The day’s concurrent sessions focused on various aspects of technology, including a hands-on workshop dedicated to “Save Your
Videotapes.” Other tracks included panels on facilities and geographic equity, dance companies and corporate partners, and funding. There was even one panel that dealt with issues of seniors and artists with special needs. Dance/NYC also organized all-day, one-on-one consultations with legal and financial experts.

The track that attracted many attendees (held in the Gibney Dance Center’s theatre space) was the six-sessions that dealt with diversity: “Meet NYC Arts Advocates,” “Dance Education for Every NYC Child,” “Diversity & NYC Cultural Leadership,” and three variations on “Power, Privilege, & Perception.” These six sessions naturally touched on issues that went beyond just aspects of Dance/NYC.

In a mid-afternoon solo talk, Tom Finkelpearl, current New York City Commissioner, Department of Cultural Affairs, started with some pointed statistics. His first slide showed that nationally, minorities represented 35% of the overall population. In New York City, on the other hand, minorities represent 65% of the general population. The question then became: does this latter figure translate into the field of dance (or the arts generally)? The answer is: no.

Kerry McCarthy, Senior Program Officer, Arts and Historical Preservation, with the New York Community Trust, keynoted the several sessions with the following opening remarks:

We know that despite the excellent work of companies like Ballet Hispanico, we still have a dance diversity pipeline issue. As Dance Theater of Harlem’s Virginia Johnson has said, “Black Swans are still all too rare.” The BFA/MFA/PHD project verified that in a recent counting of the City’s working artists and residents with arts degrees. It found that New York’s art world appears to be 200 percent whiter than the general population. A report from the National Committee for Responsive Philanthropy confirmed that just ten percent of arts philanthropy dollars are classified as benefiting marginalized communities.

Later in this same session, two speakers especially—Denise Saunders Thompson, Executive Director of the Washington, D.C.-based International Association of Blacks in Dance, and Carlton Turner, Executive Director of the Atlanta, GA-based Alternate Roots, both pointed out in their own individual ways that the lack of recognition of diversity, especially in terms of funding, is not just a local or regional problem, but that it is a national and perhaps international problem with roots that transcend the early 21^st century. It is an issue with deep historical precedent.

In this regard, the much larger issue is “The Global Forces That Are Re-Shaping the Arts.” In my last blog  I posit that there may be a strong relationship among the stagnation of human rights freedoms (on a global basis), media consolidation in the last 30 years or so, and wealth concentration, i.e., the growing disparity between rich and poor/income inequality.

All these forces, together with the negative impacts of various electronic technologies, have re-shaped the arts in the last 30-35 years. For example, it is clear that, in the United States at least, the number of arts & culture reporters and critics has diminished greatly. The greatly reduced coverage of the arts, including dance, has also had a major, negative impact on the people in the arts world, especially in the pocketbook.

The questions then become: what can be done about “diversity exclusion,” and what can be done about so-called “culture crash” in this context? In other words, there are inexorable forces surrounding the world of artists, and these forces cannot be surmounted in the short-term, but in the long-term perhaps there are steps artists can take to raise the level of their survivability.

Kerry McCarthy answered this question in part in her opening remarks with respect to New York City:

The City Council and the Mayor are taking steps to support a more inclusive arts sector. For example, the Department of Cultural Affairs will survey arts groups to see if the staffs, boards, and visitors reflect the demographics of our minority-majority city. Then, it will outline a plan to help the field better diversify. Meanwhile, the City Council set aside new funds for small immigrant community groups to provide cultural programs, as well as for a Communities of Color Stabilization grant program. It then doubled support of the Coalition of Theaters of Color.

The Mayor also launched the extremely popular Municipal ID that will connect New Yorkers, regardless of immigration status, to new services and benefits—including free admission and discounts worth $2,100 at museums and other arts groups. The biggest step towards cultural equity came when the Mayor allocated $23 million to hire 120 new arts teachers, who, in turn, will help reach the disproportionately affected students of color at schools without art teachers.

And, finally, City Council is advancing legislation to create a cultural plan for the City, one that we expect will be undergirded by the values of equity.

As the City talks more about diversity, it is working towards cultural equity, or a world where all artists and arts groups, not just those representing traditionally dominant European forms, are valued and supported equally. This means that culturally-explicit groups and artists of color that have been historically underfunded and marginalized, whether intentionally or unintentionally, begin to get a larger piece of the pie.

In the interim, the larger question is still: what will happen to the “creative arts,” including dance, going forward in an economy that for the last 30-35 years has increasingly distained major support for those in the creative arts?

If you have any questions or comments about this or any other of my blogs, please write to me at meiienterprises@aol.com.

Eugene Marlow, Ph.D.
March 2, 2015

© Eugene Marlow 2015

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