I found this posted by Eric Katz on Working Life. Eric kindly gave me permission to spread it around.
His post should be taken as food for thought. I think that there is much to be added to "the lessons to be learned from the writers strike" and I hope to write a longer piece with a similar title soon. We must realize that a "Hollywood" strike, because of the nature of the industry, is particular in some respects that cannot be replicated else where. I wish I could find Eva Longoria on a picket line for Teamsters or the UFW, but I am not sure she has ever even been asked! And if asked how many stars would show up? But still star-solidarity was not the main lesson of the writers' strike as far as building strike support and solidarity from outside the unions. It was the use of new media. In regard to this, we must realize that the CEOs and their underlings were taken by surprise by the way new media and creative picketing combined to build strike support and solidarity. They won't be taken by surprise a second time. And you better believe that the owners in other industries also took note and are trying to think up ways (legitimate and underhanded) to counter this new strike support tool we are using here. But there are still many lessons to be learned from this strike for other unions inside and outside the entertainment industry.
Jerry Monaco
Lessons Learned From the Writers Strike by Eric Katz
Thursday 14 of February, 2008
Now that the writers strike is finally over, it’s time for us to reflect on the 100 day strike. In my opinion, the writers were extremely successful and this was one of the most coordinated, targeted, and effective strikes in recent memories. Some may disagree but considering the powerful media conglomerates that opposed the writers. So lets go through the strike and talk about some of the reasons the strike was so successful and the lessons that can be learned by organized labor from the writers.
Cross posted at Daily Kos (http://www.dailykos.com/storyonly/2008/2/14/122440/464/954/456706 ) and Open Left (http://openleft.com/showDiary.do?diaryId=3917 ).
Garner Public Support
One fascinating aspect of the writers strike was the general support from the public. You would think that average Americans would find little patience for the people that cut off their favorite shows. Yet the writers garnered public support throughout the process. A Pepperdine survey showed that 63% of those surveyed sided with the writers during the process (http://bschool.pepperdine.edu/research/writersstrike/findings/writerstrike.pdf ). Similarly, a USA Today/Gallup poll found 60% of the public supported the writers (http://www.usatoday.com/life/television/news/2007-12-18-strike-poll_N.htm ). These numbers are nothing short of remarkable.
The writers were effective at marketing themselves and their campaign to the public. They used a variety of direct tools such as youtube to promote themselves in a comedic but targeted way. Their message resonated with the public and Americans were willing to give up new episodes of The Office and 24 in order to stand in solidarity with the writers. The WGA was destined to succeed with the public on their side, and such public support is crucial in any labor strike.
Utilize Celebrities Effectively
One of the high notes of the writers strike was the effect on the Golden Globe awards. To keep the entire membership of the Screen Actors Guild away from the red carpet sent a strong message to the producers, showing solidarity in Hollywood. Obviously the writers have a keen advantage in accessing celebrity support, as many famous actors were once writers. Still, showing off actor support to the public helped keep favorable opinion ratings of the writers strike.
It wasn’t just the support of celebrities but the way in which these actors articulately and ironically supported the writers. Tina Fey picketed outside of RockefellerCenter. Julia Louis-Dreyfus picketed in the shadow of a billboard for hew new CBS show (http://www.showbuzz.cbsnews.com/stories/2007/11/07/tv/main3464692.shtml ). Steve Carrell stopped production on The Office and posted a note saying Michael Scott was sick and couldn’t work with a case of “enlarged testicles”. These actors targeted their support to send a strong message to both the producers and the public at large. Organized labor should take note of the way the writers used celebrity support and learn how to target celebrity endorsements into similar effective messages.
Keep Picketing Creative
It’s safe to say that the picket lines organized by the writers were some of the most creative seen in recent memory from a labor strike. Writers filmed youtube sketches during strikes. They organized theme days such as “Picket With the Stars”, “Bring Your Kids”, “Performers with Disabilities”, and a GLBT themed picket. Alicia Keyes and K.T. Tunstall performed at the lines. Celebrities and other supportive unions sent over food to picketers on mass, with Eva Longoria’s delivery of pizza attracted special attention. Picketers used signs like “They Wrong, We Write.” (http://www.nytimes.com/2007/11/26/business/media/26strike.html?_r=1&oref=slogin )
Yet despite some of the silliness, the writers maintained a sense of professionalism and solidarity throughout the strike, leading to praise from many union leaders. The WGA found an effective way of incorporating creativity to keep the picket lines fresh and fun for their membership while also keeping the major goals in mind and staying targeted in their efforts. Obviously some of the creativity the writers used would make some blue collar union membership a little uncomfortable but labor can learn to bring some creativity to the picket lines. The writers kept themselves entertained during the strike and so they continued to come out day after day. Similar tactics could be important to keep union memberships dedicated and rejuvenated on the picket lines.
Overall the WGA did a great job with their strike and won a successful campaign against the producers. Yes, the writers didn’t win everything they wanted in their contract, but they won on 2 of their 3 major goals (jurisdiction and payment of new media but not animation and reality television revenue streams). Additionally the writers put themselves into a strong bargaining position for their next contract in three years. I hope others in organized labor will take note of these lessons and apply some of the successes of the writers strike to their own causes.
Read more posts by Eric Katz
Tags: writers strike, organized labor, Solidarity
His post should be taken as food for thought. I think that there is much to be added to "the lessons to be learned from the writers strike" and I hope to write a longer piece with a similar title soon. We must realize that a "Hollywood" strike, because of the nature of the industry, is particular in some respects that cannot be replicated else where. I wish I could find Eva Longoria on a picket line for Teamsters or the UFW, but I am not sure she has ever even been asked! And if asked how many stars would show up? But still star-solidarity was not the main lesson of the writers' strike as far as building strike support and solidarity from outside the unions. It was the use of new media. In regard to this, we must realize that the CEOs and their underlings were taken by surprise by the way new media and creative picketing combined to build strike support and solidarity. They won't be taken by surprise a second time. And you better believe that the owners in other industries also took note and are trying to think up ways (legitimate and underhanded) to counter this new strike support tool we are using here. But there are still many lessons to be learned from this strike for other unions inside and outside the entertainment industry.
Jerry Monaco
Lessons Learned From the Writers Strike by Eric Katz
Thursday 14 of February, 2008
Now that the writers strike is finally over, it’s time for us to reflect on the 100 day strike. In my opinion, the writers were extremely successful and this was one of the most coordinated, targeted, and effective strikes in recent memories. Some may disagree but considering the powerful media conglomerates that opposed the writers. So lets go through the strike and talk about some of the reasons the strike was so successful and the lessons that can be learned by organized labor from the writers.
Cross posted at Daily Kos (http://www.dailykos.com/storyonly/2
Garner Public Support
One fascinating aspect of the writers strike was the general support from the public. You would think that average Americans would find little patience for the people that cut off their favorite shows. Yet the writers garnered public support throughout the process. A Pepperdine survey showed that 63% of those surveyed sided with the writers during the process (http://bschool.pepperdine.edu/resea
The writers were effective at marketing themselves and their campaign to the public. They used a variety of direct tools such as youtube to promote themselves in a comedic but targeted way. Their message resonated with the public and Americans were willing to give up new episodes of The Office and 24 in order to stand in solidarity with the writers. The WGA was destined to succeed with the public on their side, and such public support is crucial in any labor strike.
Utilize Celebrities Effectively
One of the high notes of the writers strike was the effect on the Golden Globe awards. To keep the entire membership of the Screen Actors Guild away from the red carpet sent a strong message to the producers, showing solidarity in Hollywood. Obviously the writers have a keen advantage in accessing celebrity support, as many famous actors were once writers. Still, showing off actor support to the public helped keep favorable opinion ratings of the writers strike.
It wasn’t just the support of celebrities but the way in which these actors articulately and ironically supported the writers. Tina Fey picketed outside of RockefellerCenter. Julia Louis-Dreyfus picketed in the shadow of a billboard for hew new CBS show (http://www.showbuzz.cbsnews.com/storie
Keep Picketing Creative
It’s safe to say that the picket lines organized by the writers were some of the most creative seen in recent memory from a labor strike. Writers filmed youtube sketches during strikes. They organized theme days such as “Picket With the Stars”, “Bring Your Kids”, “Performers with Disabilities”, and a GLBT themed picket. Alicia Keyes and K.T. Tunstall performed at the lines. Celebrities and other supportive unions sent over food to picketers on mass, with Eva Longoria’s delivery of pizza attracted special attention. Picketers used signs like “They Wrong, We Write.” (http://www.nytimes.com/2007/11/26/busi
Yet despite some of the silliness, the writers maintained a sense of professionalism and solidarity throughout the strike, leading to praise from many union leaders. The WGA found an effective way of incorporating creativity to keep the picket lines fresh and fun for their membership while also keeping the major goals in mind and staying targeted in their efforts. Obviously some of the creativity the writers used would make some blue collar union membership a little uncomfortable but labor can learn to bring some creativity to the picket lines. The writers kept themselves entertained during the strike and so they continued to come out day after day. Similar tactics could be important to keep union memberships dedicated and rejuvenated on the picket lines.
Overall the WGA did a great job with their strike and won a successful campaign against the producers. Yes, the writers didn’t win everything they wanted in their contract, but they won on 2 of their 3 major goals (jurisdiction and payment of new media but not animation and reality television revenue streams). Additionally the writers put themselves into a strong bargaining position for their next contract in three years. I hope others in organized labor will take note of these lessons and apply some of the successes of the writers strike to their own causes.
Read more posts by Eric Katz
Tags: writers strike, organized labor, Solidarity
1 comment:
I don't think they won.
TV residuals are going to be destroyed by this "17-day free AD-SUPPORTED streaming window" nonsense.
The third year is a flat fee disguised as a percentage (of a cap).
I think writers will regret this deal. Any reuse of their material that doesn't pay out rightfully-earned residuals is a loss. When others make money from writers' work, writers should be paid, period.
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