Does everyone hate young journalists?

Writing for OpenFile Toronto, John McGrath notes (with alarm) a new trend: more experienced journalists pointing the finger at the young’uns for all sorts of problems with their industry. He points out recent articles by Margaret Wente, Bert Archer, and Tim Knight (1, 2, 3…it’s a trend) that call out young journalists for a) going to journalism school b) being “scabs” and c) wanting jobs. Imagine the nerve. Especially when they—and their fellow recent graduates in many other fields—are faced with such a target-rich, easy-to-penetrate job market.

But do a few articles really represent the relationship between experienced journalists and young upstarts? While there may be some bitterness on both sides, we wager there are more than a few freshly minted j-school grads who are entering the workforce with reliable and inspirational mentors on speed-dial (and in their Google chat list). McGrath’s post provoked at least one young journo to say as much on Twitter:

We’re curious: Have you sensed the antipathy that McGrath outlines growing in the industry? Have you experienced it firsthand? Do you think the relationship between older and younger journalists has always been tinged with distrust? Or is this trend really just a mirage—the result of the three articles cited coincidentally appearing around the same time?

Posted on May 18, 2012 at 7:41 am by editor · LEAVE A COMMENT · Tagged with: , , , , , , ,

Off the Wire: News for the Canadian media freelancer May 7–13, 2012

Once a week, we gather stories about the media business, journalism, writing, publishing, and freelancing—with a Canadian focus—and share them in Off the Wire. Who needs a water cooler?

From Canada:

From the U.S. and beyond:

From Story Board last week:

Spot a story you think we should include in next week’s Off the Wire? Email the link to editor@thestoryboard.ca.

Posted on May 13, 2012 at 10:00 pm by editor · LEAVE A COMMENT · Tagged with: ,

Q&A: The Born Freelancer talks with Sam Levene about the life and times of CBC Radio drama

This series of posts by the Born Freelancer shares personal experiences and thoughts on issues relevant to freelancers. Have something to add to the conversation? Your input is welcome in the comments.

As a follow up to my previous post about the death of CBC Radio drama I contacted CMG freelancer Sam Levene whose excellent CBC Radio documentary on The Sunday Edition about “The Investigator” inspired me to write my post in the first place. “The Investigator” was a 1954 CBC Radio drama production that many still consider the high water mark in this country’s “golden age of radio” drama output.

Sam Levene spent almost 30 years working in current affairs, documentary, and drama as a CBC Television producer. Afterwards he began making radio documentaries as a freelancer. Coming to radio late he finds it “perhaps the most satisfying work” he’s ever done. Sam resides in Toronto and remains a lifelong fan of radio drama. He currently produces videos for a charitable organization that works with underprivileged children. What follows is an edited version of our recent conversation. Read the rest of this post »

Posted on May 11, 2012 at 9:54 am by editor · LEAVE A COMMENT · Tagged with: , , , , ,

What was in reporters’ pockets in 1920, according to Ernest Hemingway

This week the Toronto Star launched a micro-site dedicated to a reporter who wrote for them nearly a century ago. His name was Ernest Hemingway. Maybe you’ve heard of him?

The Hemingway Papers includes contemporary reports about Hemingway’s time at the Star — including how it shaped his writing style and what he thought of Toronto — as well as samples of his work for the paper on culture, sport, war and other subjects.

Among his stories about what was happening at home in Toronto is a story called “Newspapermen’s Pockets.” He wrote it in reaction to an alarmed story about how much cash some factory workers were carrying around: $28.50, according to one survey. Riffing on that subject, Hemingway tells his readers what they could expect to find in local reporters’ pockets:

A cub reporter’s pockets contain:

One large collection of clippings. These are stories written by the reporter himself which have actually appeared in a real newspaper. They show his splendid ability to handle such vital stories as an unidentified Negro being struck by a motortruck while crossing Dundas Street. There is usually some short feature story by the reporter describing how the wind blows up and down King Street. This was inserted in the paper by the city editor one Monday when copy was short and because he was once a cub reporter himself.

When the police find a dead body with a pocket full of clippings they know it is either a cub reporter or an actor. As reporters never die, it is always an actor.

He concludes with an assurance that “As long as there are newspapermen, bond salesmen, automobile salesmen, bank employees and similar occupations, there will be a great enough lack of pocket money to balance the excess of the factory employees.”

Read the full story here.

It’s all very charming, but just how empty were Hemingway’s pockets?

A payroll ledger posted with “Newspapermen’s Pockets” shows the Star paid Hemingway $75 a week in 1923 (he was 24 years old); according to the Bank of Canada’s Inflation Calculator, that $75 would have the same buying power as $814.96 per week or a little over $40,000 per year. By today’s standards, not too shabby for a budding reporter.

Posted on May 8, 2012 at 8:28 pm by editor · LEAVE A COMMENT · Tagged with: , , , , ,

Off the Wire: News for the Canadian media freelancer April 30–May 6, 2012

Once a week, we gather stories about the media business, journalism, writing, publishing, and freelancing—with a Canadian focus—and share them in Off the Wire. Who needs a water cooler?

From Canada:

From the U.S. and beyond:

From Story Board last week:

Spot a story you think we should include in next week’s Off the Wire? Email the link to editor@thestoryboard.ca.

Posted on May 6, 2012 at 7:18 pm by editor · LEAVE A COMMENT · Tagged with: ,

Signer beware: Libel clauses in some freelance contracts leave writers holding the bag

Clauses that make writers wholly responsible for defamatory language in magazine articles have been popping up in freelance contracts for a while now. Last fall, we mentioned that The Grid, owned by Torstar Corp., was distributing new freelance agreements with clauses that could leave writers exposed to counter-suits in the event a libel suit was filed against the publisher in relation to their work. The Canadian Writers Group and the Canadian Media Guild expressed concern because writers were being asked to shoulder the full legal and financial responsibility when it came to potential libel claims. Similar clauses have appeared in past contracts for Rogers Publishing and Reader’s Digest, but were amended once concerns had been expressed by CWG.

In each of those cases, acknowledging that writers are often not experts in libel law, the publishers modified the clauses, adding language like “knowingly defame,” “intentionally defame,” or “to the best of his or her knowledge defame” so that the writer is protected from the charge that they intentionally or knowingly inserted libelous language into their articles and shifting most responsibility to the publisher.

Recently, another similar clause in a Master Author Agreement from Canada Wide Media Ltd. — publisher of Alberta Home, BC Business, and Real Golf, among other titles — was brought to our attention. It asks the writer to “confirm” that “the Work will not constitute defamation, invasion of privacy or appropriation of personality.” The contract, which also gives Canada Wide the right to make changes to an article without the writer’s permission, makes the writer responsible for “The Work,” which could also conceivably include edits made without the writer’s knowledge.

We asked Canada Wide Media’s vice-president of Editorial, Kathleen Freimond, if she was aware of any writers expressing concern over the clause and, if so, does Canada Wide intend to amend it.

“One writer’s agent has expressed concern over this clause. Our response is that we will discuss this with our lawyer and we plan to do so,” she replied by email. “It is not the company’s intention to disadvantage writers and indeed we pride ourselves on our exemplary relationship with writers, photographers and illustrators.”

We hope that discussion leads to a clause that offers more protection to freelancers, but in the meantime, if you’re a writer who has received a contract with such a clause — from Canada Wide or anyone else — make sure you know what you’re getting into before you sign, and ask yourself if one magazine article is worth risking all your assets for.

You can amend the clause, or ask the publisher to amend it, to use wording that says you will not “knowingly” include anything defamatory. Or, if you decide to go ahead and sign it, you should also take these steps:

Posted on May 4, 2012 at 2:04 pm by editor · LEAVE A COMMENT · Tagged with: , , , , , ,

New York State considers legislation to help freelancers with deadbeat clients

When an unpaid invoice is gathering dust, and numerous emails, phone calls, threatening letters and even “F*ck you. Pay me” hasn’t worked, where is a jilted freelancer to turn?

Our friends south of the border are hoping that they can turn to their government for backup,
reports the Star. New York State’s legislative assembly has passed legislation that allows freelancers to file complaints about unpaid invoices with the state Department of Labor. If an investigation determines the claim is legit, the freelancer must be paid the full value of the invoice, plus legal fees and interest. The legislation, called the Freelancer Payment Protection Act, is awaiting a vote in the state Senate.

Lobbying on behalf of the legislation is the Freelancers Union, who are compiling the World’s Longest Invoice to be presented to lawmakers on May 22. Freelancers can add their outstanding amounts to the tally by tweeting them and adding the #GetPaidNotPlayed hashtag or by visiting WorldsLongestInvoice.com. Today the total soared to more than $15.5 million, with some freelancers claiming to be owed tens of thousands of dollars. The senate shouldn’t need too much prodding, though. According to the New York Daily News, the state misses out on about $323 million a year in tax revenue because of unpaid invoices.

Still, until the legislation passes in New York State and everywhere else, freelancers have to fight their own battles. Some of the Freelancers Union’s strategies for dealing with unpaid invoices include:

What are your best strategies for handling clients who won’t pay up? Is taking legal action worth the time and money? Do you think the kind of legislation being proposed in New York State will effectively deter deadbeats? Leave a comment and let us know.

Posted on May 2, 2012 at 6:34 pm by editor · LEAVE A COMMENT · Tagged with: , , , ,

Off the Wire: News for the Canadian media freelancer April 23–29, 2012

Once a week, we gather stories about the media business, journalism, writing, publishing, and freelancing—with a Canadian focus—and share them in Off the Wire. Who needs a water cooler?

From Canada:

From the U.S. and beyond:

From Story Board last week:

Spot a story you think we should include in next week’s Off the Wire? Email the link to editor@thestoryboard.ca.

Posted on April 29, 2012 at 9:15 pm by editor · LEAVE A COMMENT · Tagged with: ,

The Born Freelancer says goodbye to CBC Radio drama

This series of posts by the Born Freelancer shares personal experiences and thoughts on issues relevant to freelancers. Have something to add to the conversation? Your input is welcome in the comments.

When this year is reviewed many significant deaths will be noted. None feel more deserving of attention today than the announced termination of all radio drama production on CBC.

It could be argued that the patient had been unwell for years, suffering from a combination of financial malnourishment and upper managerial neglect. Some might even go so far as to say it was a mercy killing, that radio drama had become simply irrelevant and too costly, a product of an era long past. Others may see it as another example of our current federal government’s systemic antipathy towards public broadcasting. I have read that one less controversial CF-35 jet on order would have meant no cuts necessary at the CBC. I will leave it to history to judge which would have been the better investment in our country’s future well-being.

I come not to bury CBC Radio drama but to praise it.

Radio drama helped build this nation culturally as surely as the railway helped unite it physically. Primarily during the 1930s, ’40s, and ’50s (and to a slowly declining extent well into the 1990s), CBC Radio drama served admirably as this country’s true national theatre. Canadians from coast to coast to coast were able to hear dramatized stories about themselves, told by themselves, at the same time as their fellow countrymen (and women) thousands of miles away. As a result of this uniquely shared experience, I would posit, we became more aware of ourselves as a nation and of our relationship to other nations throughout the world. And with its single-minded desire to provide a forum for this expression, CBC Radio drama became world class without many of its listeners ever really knowing or even appreciating it until it was all gone, cut by cut by cut.

“The Investigator”

CBC Radio One’s The Sunday Edition recently repeated an excellent 2005 documentary by Canadian Media Guild freelance member Sam Levene about CBC Radio drama’s mid-1950s high watermark production of “The Investigator.” (You can hear a brief excerpt from it here.) Using a combination of rarified satire and unparalleled courage, “The Investigator” took on the cancerous scourge of McCarthyism that threatened to totally consume our southern neighbour’s freedoms and liberties. It was a story as relevant to us in Canada as to the U.S. back then and as relevant to all of us again today as it was yesterday. (Sadly, those of us who do not study history seem doomed to repeat it.) An outstanding production, it managed to demonstrate the true nature of McCarthy’s allegations in such a way that few (other than the legendary Edward R. Murrow) had been able to do. It was so uniquely effective that bootleg copies soon made their way into the homes and offices of many influential politicians and media types in America including (it is said) into the White House itself.

What a glorious achievement in our nation’s broadcasting history. It is good to be reminded of such things from time to time. We get so caught up today in the level playing field of the internet, where access to everything is equal to everything else (a highly laudable construct in so many ways), that we occasionally forget what this country accomplished when only very few were able to find a prominent voice on public airwaves — excellence of a kind that helped define us as a nation and as a people.

The role of freelancers

But what has all this to do with this blog? It was freelancers — actors and writers and musicians — who made those radio dramas possible, who were responsible for bringing them to life. So I guess you could say that, in a very real way, freelancers helped build this country culturally into what has been bequeathed into our trust today.

Those pioneering radio drama freelancers also banded together at various points in time — putting aside their professional rivalries and personal differences — to form collective organizations to better the working conditions for freelancers evermore. Every time a freelancer today receives a cheque from the CBC with the minimum conditions and fees negotiated automatically for them by the CMG or another relevant union, we should thank our freelancing predecessors who won such gains after decades of often bitter and hard-fought negotiations.

Certainly the importance of CBC staff producers and staff technicians in the history of CBC Radio drama should never be discounted. It is not my intention to slight such worthy individuals in any way. But I think even they would find it hard to refute the notion that freelancers were always the heart and soul of CBC Radio drama and continued to be right up to the very end. Regarding its relevancy today, I’ve heard it said that over half a million tuned in every week to Afghanada, CBC Radio’s penultimate drama serial that presented the war in Afghanistan to Canadians in a way no other media outlet dared — showing us the horrors and hell of this confusing war on a very personal level. Perhaps it is appropriate that CBC Radio drama ends (more or less) during wartime. It was after all forged and first made truly relevant to Canadians during the Second World War. I hope that someday the CBC will choose to make available more of its radio drama archives to the general public. Only then will the extent of this unique national treasure truly be appreciated and understood.

Rediscover radio drama

As to the argument that radio drama is outmoded or a thing of the past, I would reply that you’ve been listening to too many old scratchy recordings of The Shadow. Seriously, check out the continuing output of the BBC over in the U.K. where radio drama continues to thrive today amidst heavy competition from all visual forms of satellite and internet-based media. As long as there are new and exciting stories to tell, radio drama will continue to evolve and morph into formats and styles appropriate to its intended contemporary audience. That it is a costly radio format when compared to spinning tunes or endless news/talk there can be no denying. That it manages to reach select audiences using the “theatre of the mind” format infinitely more cheaply than television or film drama is a lesson to be rediscovered by future independent producers of the genre. Also to be rediscovered is radio drama’s ultimate secret: that its relative potential impact far outweighs any of its visual competition. The best radio drama happens in the listener’s mind for we are willingly active collaborators in its creative process. When that happens, emotional engagement and intellectual relevancy can quickly follow.

Go to http://www.bbc.co.uk/radio to explore drama programming on its Radio 3, Radio 4, and Radio 4 Extra, as well as on the BBC World Service.

Contemporary independent radio drama also still exists south of our border, often turning up on various NPR stations. Check with your local NPR station for details. Online options include the prestigious L.A. Theatreworks, which can be heard here, proving that the genre is far from extinct. A few minutes spent with your favourite search engine will turn up a surprising number of other relevant sites. The internet clearly has become audio drama’s best friend.

On an entirely pragmatic note, the death of CBC Radio drama will mean the loss of many freelance gigs — writers, actors, musicians, and so on. With so few stable avenues available for practitioners of the artform, it may well be the end of many enjoyable side careers in this country. The reality is that CBC Radio drama had ceased to be a continuing full-time employment opportunity for most freelancers for decades. Still, it always managed to be a rewarding and inspiring medium for those who tenaciously clung on and managed to produce some incredibly compelling work over the decades despite lack of funding and (or so it would seem) upper managerial appreciation or support.

What I’ve learned from CBC Radio drama

I can say all this without any conflict of interest: I never made a dime writing for CBC Radio drama. I speak as an aficionado of those who did and of their outstanding contributions to this country’s cultural landscape.

And it’s not like I didn’t try. Over the last couple decades I went in a few times to try to sell a drama script. That was another of the great things about CBC Radio drama. If you were serious and not just wasting their time, they had to see you. It was part of their mandate to encourage and develop freelance talent in this country. Although I never made any actual drama script sales, the time I spent with various producers and script editors convinced me of their genuine passion for the medium as well as for producing work worthy of a national audience’s attention. I learned far more about story structure and characterization in one afternoon story conference (during which a very kind, very overworked story editor had to turn down a spec script) than in quadruple the number of hours spent in earlier college classes on the same topics. I also learned a lot about passion and commitment, struggling for what you believe in, and hard work. I feel badly that this irreplaceable training resource will now be denied future freelancers.

So what is in the future?

I wrote a couple posts ago about the constantly evolving nature of radio and the need for freelancers to evolve alongside with it.

Here is my prediction — radio drama is not dead in this country, nor is it necessarily dead on CBC Radio except in its old-fashioned institutionalized construct. It will now pass fully into the hands of entrepreneurial freelancers to take complete control of and do it entirely for themselves. Currently existing independent radio producers will expand their audience base. Newcomers will find their own niche. Perhaps it is the inevitable “coming of age” for the medium. The radio dramatists of the future will not only write and act and produce their own work but will also distribute/sell/market it themselves. Whether this means connecting directly to listeners via the internet or via sales to the CBC as outside independent contractors or by buying time on commercial stations and/or smaller community stations nationwide I cannot say. (All seem to be reasonable options worth pursuing.) But I see this as an enormously exciting opportunity for the rebirth of the unique artform of radio drama as well as the opportunity for freelancers to once again step up to the (aural) plate and resume doing what we do best: telling stories about ourselves, to ourselves. By doing so we will again become world class at it. Not because that is our goal, but because I believe radio drama is programmed into our country’s creative DNA. What other form of theatre can instantaneously transverse this vast nation and reach its geographically scattered audiences so readily, so imaginatively, and so meaningfully?

R. I. P. CBC Radio drama. I am proud to have known you.

But long live Canadian audio drama — on radio, streaming online, via podcasts and/or utilizing platforms currently unknown. Freelancers will definitely be making more Canadian radio drama happen in the future just as we have always done right from its birth.

Are you currently an independent radio drama producer? Or do you plan to become involved in it now that CBC Radio drama is ending? Please leave your comments on what you are doing or plan to do in the future. If your work is available to listen to online or on the air let us know the details.

Posted on April 27, 2012 at 11:45 am by editor · LEAVE A COMMENT · Tagged with: , , , , , , ,

Profile of CBC’s Kirstine Stewart continues CWG’s nonfiction ebook series

All eyes are on the CBC after the federal government announced it would cut 10 per cent of its budget. It’s likely Kirstine Stewart, the broadcaster’s executive vice-president in charge of English programming, is feeling the weight of that gaze more than anyone else at the CBC.

In a story that first appeared in Toronto Life‘s May 2012 issue, Toronto-based writer Jason McBride profiles Stewart, who has raised ratings while dodging rumours about her personal life and championing shows like Dragons’ Den and Being Erica on her mission to “to connect Canadians and facilitate conversations.”

An updated version of the profile, entitled Can This Woman Save the CBC?, is available as an ebook through Kobo and Amazon.com.

This the second title in the Canadian Writers Group‘s nonfiction ebook series that launched last month with Russell Smith’s unflinching memoir Blindsided. It was the top-selling non-fiction title on Kobo’s list of Top 50 ebooks soon after its release and is now available for Kindle readers.

CWG will release a third title, Bones of Contention by Leslie Anthony, in May.

Synopsis for Can This Woman Save the CBC?:

Kirstine Stewart, the CBC’s executive vice-president in charge of English programming, has the most difficult job in Canadian media. Up against huge budget cuts, the Internet, corporate media giants, and millions of taxpaying critics, she is fighting back with an array of mass-appeal reality TV and sitcoms such as Dragons’ Den and Mr. D. Ratings have never been higher; nevertheless, the CBC is on increasingly tenuous ground. Jason McBride went behind the scenes with Stewart to write a feature profile for the May 2012 issue of Toronto Life that gets to the heart of the national drama.

Posted on April 26, 2012 at 4:00 pm by editor · LEAVE A COMMENT · Tagged with: , , , , , , ,