First, a few unpaid words from Stephen Hull, UK editor-in-chief at the Huffington Post, the newspaper that was never a newspaper and always a website which empowers its writers by not paying them. He was being interviewed by media interrogator Steve Hewlett on Radio 4 (as reported on the New Statesman website). If you are a writer, or someone hoping to make a career out of writing, make sure you are not holding any hot drinks. Ready?
“If I was paying someone to write something because I want it to get advertising, that’s not a real authentic way of presenting copy. When somebody writes something for us, we know it’s real, we know they want to write it. It’s not been forced or paid for. I think that’s something to be proud of.”
So, conveniently, payment robs comment of authenticity. All those words I’ve written for money – and indeed all those words written by Noam Chomsky, JK Rowling and Paul Morley for money – are in some way inauthentic. Oh, and paid writing’s only purpose is to attract advertising.
As an unpaid blogger, by choice, and a paid writer in other quarters – a line of work I have been pursuing for 28 years – this not only infuriates but saddens me. The Huffington Post is successful, innovative and decorated. It is a beacon for our times, when print, deserted by traditional advertisers, is choking on its own thin air. It offers a high-profile platform and shop window for its writers (it calls them bloggers to stop them getting fancy ideas above their station), and you can’t buy that kind of exposure. Except you are buying it. You are buying it with your time and your expertise; your ability to rearrange the English language into sentences. Writing is not a mystical art. All but the technically illiterate do it every time they fill out a birthday card or leave a note on the fridge. But increasingly, as those public outlets for writing dwindle – farewell, the printed Independent; hello, unloved piles of wafer-thin giveaway NMEs thrown back into cardboard gondolas at Sainsbury’s and railways carriages decorated in crumpled copies of today’s Metro as if in dirty protest – the once romantic idea of wielding a quill for money withers on the vine. People would rather watch a Vine.
I’m lucky. I was first paid to write my first ever review in 1988, a year out of college – and not a college where I studied journalism, or the written word: this was the 80s, a golden era of opportunity between the closed shop and the internet. I was paid £23.00 for this review by the publisher IPC, as quaintly typed out in the payslip above, which marks the day I became a professional writer. It seemed like an awful lot of money to me. I would have paid IPC to see my words in print.
My only qualification to write this review and see it published was a single copy of a fanzine I’d put together [left], and the skill of being keen enough to ask. This century, I’m often asked to give advice to people wishing to get a start in the media. I’m a media veteran. I’m always happy to tell people my own story, although with each passing year, it becomes less and less relevant to today’s literary and journalistic wannabes. For years I’ve been telling students that I envy them. In the mid-80s, I had to type up my fanzine on an electric typewriter, cut it out and Pritt-stick it down, and pay to have it printed at a high-street Kall-Kwik, then hawk it around in a shopping bag at gigs hoping to sell a copy for a pound. (I sold one by mail-order – it was mentioned in a magazine called Underground and two kids turned up at my flat to buy one, with cash. I was fucking cock-a-hoop.) These days, you need only a broadband connection to publish instantly to the world. No guarantee that a single soul will read it, of course, but it will look professional and you will by definition be a published writer. You can publish a novel in the same way. It’s liberating. It’s also demonetising.
I wrote about the curse of unpaid labour in the media three years ago. I wasn’t paid for writing it. I wrote it for free, here, on this blog. I commissioned myself to write it, sub-edited it myself and headlined it Keeping up appearance fees. If you have the time, you can read it here. Most of it is still true. I will precis the salient points here.
When you see somebody talking on the telly, do you assume they have been paid? You are right to. Unless they are a member of the public whose opinion or testimony has been sought by a news crew, or an audience member doorstepped by the host on an audience show, or they are questioned in a news studio as a representative of either a political party or a private company, then they will usually be paid an appearance fee.
This will be nominal, but it covers their time and their expertise, and reflects the fact that – like an actor in a drama, or a singer or dancer in a chorus – they have helped to make a TV programme, and without them there would be a person-shaped gap, which will never do. TV programmes have budgets, and from those budgets, fees for actors, singers, dancers or contributors are found. (It goes without saying that there are many, sometimes hundreds of people you don’t see on the telly who are just as vital to the making of the programme, and they will be paid too. This will effectively be a non-appearance fee.)
However, it ain’t necessarily so. When, in 2013, James Gandolfini died, I was contacted on the day by email – via the Guardian as it happens – by a broadcaster who requested my presence on a live studio discussion about Gandolfini, to take place at 4pm the next afternoon. Having gathered my thoughts sufficiently to write a blog and be filmed for the Guardian video obituary, I felt confident I could make a good contribution to this TV show.
However, having agreed on principle with the producer to be at the studio for 4pm (which just happened to be geographically between the British Library, where I was writing, and 6 Music, where I was headed for an appearance on Roundtable, so it was all awfully convenient and meant to be), I was then told, “It’s not actually our policy to pay guests.”
Without wishing to come across as some kind of square, I rather insisted that I would expect some recompense for my time and expertise, and after a couple more emails, during which the producer went to their editor and came back, we hit an impasse, at which the producer said, “We’re going to have to go with someone else.” This meant somebody who didn’t require paying. Fair enough. I had pushed for payment and they’d called my bluff. To be honest, it was one less extra thing to think about. I was at the time writing a second draft of a pilot sitcom script to a deadline, something I was being paid for.
I have a realistic view of my own importance. I do not delude myself. But I do believe the 28 years’ mileage on my clock gives me a degree of authority and I like to think I can string a sentence together on a good day. I cannot build a wall or fix a radiator but I can talk. A tradesperson is rightly seen as someone who is paid for their time and expertise. If you can plaster a wall yourself, you have no need to call in a plasterer; if you can’t, you must expect to pay a plasterer for the work, and they must be expected to do that work to a certain standard in return.
I once entered some provisional talks with a small, independent publisher about publishing my “selected works” in a book. It never happened, but I had a title: Punctual. I have always been proud to be reliable, to write to length, and to deadline, to turn up on time, and to call ahead if unable to do so. These boring qualities go a long way in showbiz. (I have heard of certain performers who are apparently a nightmare to work with – ones you would instantly recognise on the telly – but you have to be pretty bloody good at your job to get away with this.) I have never fooled myself into thinking I’m some kind of literary, verbal or televisual genius, to whose door broadcasters will constantly be beating a path, but to borrow a phrase, I like to think I’m never the problem.
Now, if I had accepted the no-fee for the Gandolfini appearance on the current affairs show and given my two penn’orth to the broadcaster that day at 4pm, here’s what would have happened:
- My face would have been on the telly.
- Some people might have seen it.
- The whole thing would have lasted a matter of minutes (which, when you build in the travel at either end, plus the buffer of some green-room waiting time, makes the appearance a tiny percentage of the time and effort expended).
- The broadcaster might have used me again in the future and on that occasion maybe even paid me.
Also, I suspect, if you’d seen it, you would have assumed I’d been paid. But I wouldn’t have been. It would have been voluntary work, except not voluntary work for a worthy cause.
So I declined, politely, and wasn’t on. I wonder who was? It doesn’t matter. The world kept on turning. The broadcaster who wouldn’t pay my fee for talking about James Gandolfini offered a car there and back. What a waste of money. It’s nearly always easier, and quicker, to get about London on public transport. Why would I want to be in a slow-moving car? Think of all the money they could save by not running a private car hire service. Perhaps they could pay contributors with that instead? I’ve also been offered unpaid slots on TV and radio shows where my reward was to be able to plug something. This is actual bullshit. Literary festivals are currently under fire for not paying authors (and I mean really famous bums-on-seats authors, not authors at my level) for personal appearances, again, on the understanding that they will be able to flog a few books afterwards. I’ve promoted my books this way, and a) people who run festivals, bookshops and libraries where the event is likely to be tend to be really nice, and b) you do get to sell a few signed books. Should authors be paid a small stipend on top? Or is the platform – like the Huffington Post – enough? Are you being paid “in kind”?
Not all potential guests and contributors are egomaniacs. Given the choice between appearing as a pundit on Channel 4 News and getting home in time to watch Channel 4 News, I’d always choose the latter. I turn down roughly 75% of the offers I get to be myself on radio and TV. It may be more. Frankly, I don’t have anything to flog. And I have no deep need to hear my voice or see my face. I will always jump at the chance to be on Front Row on Radio 4, because I love the show and, oh, I will be paid. Not much. But enough to take a short detour via Broadcasting House and get to talk to the always amenable people who make Front Row.
I was invited last week to mentor someone hoping to break into the media by an entirely admirable charity-based body that encourages that very thing. I’ve done unpaid work for them in the past. My choice. I like them. But I had to decline the mentoring gig, as I remain a self-employed freelancer and I don’t have the luxury of time to devote to this year-long commitment. (Others in the media who have taken it on seem to work for, or run, production companies or TV channels.) Also, I would, in a roundabout way, be training someone to steal the work that puts food on my table! After all, it may be tough to break into the media and earn enough to actually live on in a digital age where writers are called bloggers and comment is literally free at the point of sale, but at least the young have youth on your side. This is a valuable currency in the magpie eyes of a demographically myopic media. I was delighted to be asked to host the red-carpet coverage of the Bafta Film Awards for Bafta many years ago, the first time the august body had produced its own content for its own website; it was deemed a roaring success and as a result, the next year, I was replaced by a younger, more attractive and more famous host. It was the day I stopped dreaming of being a TV presenter. But even in this cruel Logan’s Run world, the one thing I can offer is something that money can’t buy – experience. It’s just that increasingly, broadcasters and content providers want it for for nothing.
DON’T WORK FOR FREE. UNLESS YOU CAN AFFORD TO. OR IT’S FOR CHARITY.
I will donate the non-existent fee for this article to myself.
I love that it was their ‘policy’ to not pay guests, a word chosen specifically to make it sound like some kind of unchangeable edict.
My basic rule is: does everyone else working on the programme/production/etc get paid? Then I should be, too. Seems pretty obvious, but apparently this idea mystifies some production people.
The regularly insufferable sci-fi writer Harlan Ellison had a nice little rant about this kind of thing in a documentary on his life and work: https://www.youtube.com/watch?v=PuLr9HG2ASs