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 let’s 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 Open Left and Working Life
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. Similarly, a USA Today/Gallup poll found 60% of the public supported the writers. 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 Rockefeller Center. Julia Louis-Dreyfus picketed in the shadow of a billboard for hew new CBS show. 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 attractive special attention. Picketers used signs like "They Wrong, We Write."
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.