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The Pandemic Small Business Boom Is Still Helping to Fuel the Economy

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Hector Xu was on track for a career in academia when the pandemic upended his plans.Tired of endless Zoom meetings and feeling cooped up in his Boston apartment, Mr. Xu decamped for New Hampshire, where he began taking lessons to fly helicopters. That led to a business idea, converting traditional helicopters into remotely piloted drones.Mr. Xu’s company, Rotor Technologies, now has nearly 40 employees — including his former flying instructor — and about $1 million in revenue this year, a figure it expects to increase twentyfold next year. Gov. Chris Sununu was present for the first test flight of one of its drones.“Covid hit, and it really changed my perspective,” Mr. Xu said. “You ended up spending most of your time in front of your computer rather than in the lab, rather than interacting with people, going to conferences. And I think it made me really yearn to do something that was more impactful in the real world.”Mr. Xu, 30, is part of what may be one of the pandemic’s most unexpected economic legacies: an entrepreneurial boom. Stuck at home with time — and, in many cases, cash — to burn, Americans started businesses at the fastest rate in decades.Piloting a test flight of a Rotor drone.Ian MacLellan for The New York TimesThe company now has nearly 40 employees.Ian MacLellan for The New York TimesWhat happened next might be even less expected: Those businesses thrived, overcoming supply chain disruptions, labor shortages, rapid inflation and the highest interest rates in decades.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Hollywood Movie Producers Find a Harder Time Making a Living

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    Corporate consolidation and technology have upended many jobs in recent decades. But few arcs are more surprising than that of the Hollywood producer.In more than three decades as a studio executive and producer, Kevin Misher has worked on some of the most beloved movies in Hollywood, including “Rudy,” “Meet the Parents” and “Public Enemies.”As recently as 2012, his production company, Misher Films, supported three development executives and three assistants. It had a studio deal worth more than $1 million in many years, which allowed it to acquire scripts and hire writers while meeting payroll.But today, even as Mr. Misher continues to produce high-profile movies like “Coming 2 America” and “You People,” as well as television shows, documentaries and podcasts, his company has slimmed down amid the industry’s changing economics. Years often pass between the time producers start a project and the time they are paid. Deals for producers have dried up as studios have sought greater efficiencies. Mr. Misher’s six employees have dwindled to one, along with a partner who earns a portion of his fees.“Those deals sustained you — they were a paycheck,” Mr. Misher said. “They allowed you to make a basic wage while waiting for a payout.”The unraveling of these arrangements has not only made life harder for an accomplished producer like Mr. Misher, whose job is to originate movies by identifying promising material, and to oversee the hundreds or thousands of people involved in writing and filming. It has also hollowed out the field’s middle tier and made it almost impossible for young people to enter the profession.“It starts to self-select for people who come in already with money,” said Mr. Misher, part of a group of more than 100 producers called Producers United, who are seeking more favorable financial terms through discussions with Hollywood studios. “The perspective gets narrower, it isn’t as innovative or diverse.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Job Hunting Is a Challenge for Recent College Grads

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    Unemployment is still low, but job seekers are competing for fewer openings, and hiring is sluggish. That’s a big turnaround from recent years.For much of the last three years, employers were fighting one another for workers. Now the tables have turned a bit. Few employers are firing. Layoff rates remain near record lows. But fewer employers are hiring.That has left job seekers, employed or unemployed, competing for limited openings. And younger, less experienced applicants — even those with freshly obtained college degrees — have been feeling left out.A spring survey of employers by the National Association of Colleges and Employers found that hiring projections for this year’s college graduating class were below last year’s. And it showed that finance, insurance and real estate organizations were planning a 14.5 percent decrease in hiring this year, a sharp U-turn from its 16.7 percent increase last year.Separately, the latest report from the Bureau of Labor Statistics shows the overall pace of hiring in professional and business services — a go-to for many young graduates — is down to levels not seen since 2009.For recent graduates, ages 22 to 27, rates of unemployment and underemployment (defined as the share of graduates working in jobs that typically do not require a college degree) have risen slightly since 2023, according to government data.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Seeking Your First Job After College? Share Your Story.

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    The New York Times wants to hear from recent college graduates, other young job seekers and hiring managers about this year’s job market.The economy is growing. Unemployment is low. But the job market is not as hot as it used to be, and younger applicants, with or without college degrees, are feeling the pinch. Hiring projections for this year’s college graduating class are below last year’s, and the downturn is particularly notable in fields like finance, insurance, marketing and real estate.I cover economics at The New York Times, and I would like to hear from recent college graduates and other young job seekers, as well as hiring managers, about what the job market has looked like to them this year.Your responses will help us gain a fuller, more nuanced understanding of how the broader trends are being felt — or, in some cases, overcome.We’ll read every response, and we’ll reach out to some people to learn more. We won’t publish your name or any part of your submission without hearing back from you and verifying your story. And we won’t share your contact information outside the Times newsroom. If you prefer to share tips or thoughts confidentially, you can do so here.Our first set of questions are for job seekers, and then we have questions for hiring managers.Tell us about your recent experience in seeking work — or workers. More

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    Movie Editors and Animators Fear A.I. Will Kill Jobs

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    Actors and writers won strict limits on artificial intelligence in last year’s contract negotiations, but editors and artists face a growing challenge.For most of his four-plus decades in Hollywood, Thomas R. Moore has worked as a picture editor on network television shows.During a typical year, his work followed a pattern: He would spend about a week and a half distilling hours of footage into the first cut of an episode, then two to three weeks incorporating feedback from the director, producers and the network. When the episode was done, he would receive another episode’s worth of footage, and so on, until he and two other editors worked through the TV season.This model, which typically pays picture editors $125,000 to $200,000 a year, has mostly survived the shorter seasons of the streaming era, because editors can work on more than one show in a year. But with the advent of artificial intelligence, Mr. Moore fears that the job will soon be hollowed out.“If A.I. could put together a credible version of the show for a first cut, it could eliminate one-third of our workdays,” he said, citing technology like the video-making software Sora as evidence that the shift is imminent. “We’ll become electronic gig workers.”Mr. Moore is not alone. In a dozen interviews with editors and other Hollywood craftspeople, almost all worried that A.I. had either begun displacing them or could soon do so.As it happens, these workers belong to a labor union, the International Alliance of Theatrical Stage Employees (IATSE), which can negotiate A.I. protections on their behalf, as actors’ and writers’ unions did during last year’s strikes. Yet their union recently approved a contract, by a large margin, that clears the way for studios to require employees to use the technology, just as Mr. Moore and his colleagues have feared.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Child Care Costs Challenge Women’s Gains in Work Force

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    Participation in the labor force has surged among women in their prime working years. But for those with children under 5, the gains may have peaked.Jessica Cuevas loved her job as a college counselor at a high school. But after giving birth to a son in January 2021, she switched to a remote corporate job at a grocery store chain because it gave her more flexibility and saved her commuting time. After her second son was born two years later, she quit that job, too.She had been relying on her mother for help, but her parents have been spending more time in Mexico, leaving her without an affordable and reliable child care option.Ms. Cuevas, who is 35 and lives in Chicago, works part time from home for an education nonprofit, though the work is sporadic and the pay is inconsistent. She wants a full-time job — in part so she and her husband can buy a bigger house — but she is concerned that the expense of child care would wipe out any financial upside.“I feel like right now, considering the economy, considering just the cost of living, we feel stuck,” she said.The share of women in their prime working years who are in the labor force has reached new highs coming out of the pandemic, hitting a record 78.1 percent in May.But there are signs that the labor force participation gains among women with children under 5 has plateaued since September, according to an analysis from the Hamilton Project, an economic policy research group at the Brookings Institution.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Teamsters Struggle to Unionize Amazon and FedEx Delivery Workers

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    The Teamsters union has made little headway in organizing workers at Amazon and FedEx despite wage and other gains it secured at UPS last year.Last year, two unions representing workers at three large automakers and UPS negotiated new labor contracts that included big raises and other gains. Leaders of the unions — the United Automobile Workers and the Teamsters — hoped the wins would help them organize workers across their industry.The U.A.W. won one vote to unionize a Volkswagen factory in Tennessee last month and lost one this month at two Mercedes-Benz plants in Alabama. The Teamsters have made even less progress at UPS’s big nonunion rivals in the delivery business, Amazon and FedEx.Polling shows that public support for unions is the highest it has been in decades. But labor experts said structural forces would make it hard for labor groups to increase their membership, which is the lowest it has been as a percentage of the total work force in decades. Unions also face stiff opposition from many employers and conservative political leaders.The Teamsters provide an instructive case study. Many of the workers doing deliveries for Amazon and FedEx work for contractors, typically small and medium-size businesses that can be hard to organize. And delivery workers employed directly by FedEx in its Express business are governed by a labor law that requires unions to organize all similar workers at the company nationally at once — a tougher standard than the one that applies to organizing employees at automakers, UPS and other employers.Some labor experts also said the Teamsters had not made as forceful a push as the U.A.W. to organize nonunion workers after securing a new contract with UPS.“You didn’t have that energy that you saw with the U.A.W.’s leaders,” said Jake Rosenfeld, a sociologist who studies labor at Washington University in St. Louis.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Jobs Sit Empty in the Public Sector, So Unions Help Recruit

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    Shortages of state and city personnel, especially those who must work on site, are so dire that unions are helping to get people in the door.The State of Minnesota, like nearly every public-sector employer across the country, is in a hiring crunch.Not just for any job, though. The desk jobs that can be done remotely, with flexible schedules? Applicants for those positions are relatively abundant. It’s the nurses, groundskeepers, plumbers, social workers and prison guards — those who are on site, sometimes at odd hours — that the state really can’t find.“It’s terrifying, if I’m being honest,” said Mitchell Kuhne, a sergeant with the Department of Corrections staffing a table at a state jobs fair in Minneapolis this week. “People just don’t know about the opportunities that exist. It’s a great work force, it’s a great field to be in, but it’s a really intimidating thing that isn’t portrayed accurately in the movies and media.”Understaffing requires employees to pick up many hours of mandatory overtime, Mr. Kuhne said. The additional income can be welcome, but also makes home life difficult for new recruits, and many quit within a few weeks. So his union, the American Federation of State, County and Municipal Employees, is playing an unusual role — helping their bosses recruit workers.It’s a nationwide quandary. While private-sector employment fully regained its prepandemic level a year ago — and now sits 3 percent above it — state and local governments remain about 1 percent below the 20 million people they had on staff in February 2020. The job-opening rate for public-sector positions is below that of private businesses, but hasn’t come down as much from the highs of 2022.Private-Sector Employment Bounced Back. State and Local Government Hasn’t Recovered.Employment level as a percentage of employment in February 2020

    Source: Bureau of Labor StatisticsBy The New York TimesIn historical perspective, it could be worse: State and local government employment had only barely recovered from a long slide after the 2007-9 recession, which left many public services underpowered as states and cities lacked the funding to return to full strength.This time, the problem is different. Tax collections recovered more quickly than expected, and the federal government helped with transfers of cash to local jurisdictions to offset the effects of the Covid-19 crisis. That helped many governments award temporary pay increases to retain key personnel, and hire others into departments that had been cut to the bone, such as public health.But officials then faced a new twist. Wages in the private sector were growing faster than they had in decades, drawing people away from government jobs that had, for some, become too stressful. Civil servants also tend to be older than other workers, and more of them retired early rather than put up with mounting strain. As federal relief funds peter out, governments face difficult questions about how to maintain competitive pay.Public needs, however, have only increased. Minnesota, along with recovering from a hiring freeze early in the pandemic, has passed larger budgets and new laws — regulating cannabis sales, for example — that have added hundreds of positions across several agencies. At the same time, the federal infrastructure bill is supercharging demand for people to manage construction projects.That’s a victory for labor unions, which typically push for more hiring, higher wages and better benefits. But it doesn’t help them much if positions stay empty. A survey of local government human resource officers, released in June by the nonprofit research organization Mission Square, found that more than half the respondents had to reopen recruitment processes very often or frequently for lack of enough applications. In Minnesota, the vacancy rate for state government jobs rose to 11.5 percent in the 2023 fiscal year from 7.5 percent in 2019.That’s why the American Federation of State, County and Municipal Employees, known as AFSCME, decided it needed to pitch in on a function usually reserved for human resources departments: getting people in the door. The union has started a national campaign to generate buzz around frontline positions, while locals are contacting community organizations and even families of union members to spotlight opportunities.“Our employers are feeling the heat,” said Lee Saunders, the union’s president. “They understand that services are not being provided at the level that they should be provided. It’s a team effort as far as bringing fresh blood into the public service.”That was the point of the hiring fair in Minneapolis. Seventy-five job seekers filtered through, often looking for more stable or higher-paying positions than the ones they held, usually referred by a friend or relative in the union.Cassandra Crawford spoke to someone at nearly every table, looking for something better paid and more active than her remote job in health care administration. “The older you get, the more you want to move your body,” she said. Speaking with recruiters in person was also more encouraging than sending her résumé to an automated portal. “I think they might remember me,” she said, laughing.Joel Shanight, 43, a disabled Army veteran and Peace Corps volunteer with experience in hostile environments, expressed confidence that he had landed a job doing roadway assistance on state highways. After doing unsatisfying accounting work in the private sector, he was glad to have learned about positions that could allow him to help people again.“I can’t find that in the corporate world,” Mr. Shanight said. “There’s no compassion anymore.”Also present were high-level officials from the state government, including Jamie Long, the House majority leader, who praised the union for helping out. Other government unions — like the American Federation of Teachers, which represents a field that saw an exodus during the pandemic — also have programs to try to bring more people into the classroom.AFSCME plans to create a national training and development center that will maintain a database of available union-represented jobs and centralize apprenticeship programs to build the next generation of public servants.Joseph McCartin, the executive director of the Kalmanovitz Initiative for Labor and the Working Poor at Georgetown University, said he hadn’t seen anything similar since World War II, when unions joined the federal government to fill positions essential to the military effort. Unions can be trusted messengers in communities, he said, and have a better understanding of what job seekers are looking for than employers do.A tour bus used for recruitment by the American Federation of State, County and Municipal Employees, a trade union of public employees, at the hiring fair in Minneapolis this week.Tim Gruber for The New York Times“I think it’s an extraordinary development,” Dr. McCartin said. “It’s a great advantage when you have a partner that’s going to be working with you to try to help you solve this problem.”Some states that limit collective bargaining in the public sector think that not having to deal with labor organizations allows them to adapt compensation more quickly in response to staffing needs. But they still deal with their share of difficulty in hiring.Take Idaho, whose population boomed during the pandemic. By the 2022 fiscal year, the state was facing vacancy rates as high as 20 percent at the Department of Corrections and 15 percent in the Department of Health and Welfare. A benchmarking analysis found that state jobs paid 24.6 percent less than the private sector for comparable positions, and annual turnover had reached 21.8 percent.The state ramped up recruiting, eased formal education requirements for some positions and brought on contractors to fill labor gaps, which is expensive. Those moves didn’t solve the problem, especially for less attractive shifts at hospitals, prisons and veterans’ homes, which couldn’t fill available beds because of understaffing.So in early 2023, Gov. Brad Little, a conservative Republican, asked for an 8.5 percent across-the-board pay increase for state workers over two years, with another 6 percent for those in public safety. Next year the governor plans to seek the same bump for workers in health care, information technology and engineering.The Legislature generally went along with those recommendations, with a few tweaks. But given the continuing constraints, Lori Wolff, head of the Division of Human Resources, said she was looking for ways to provide services with fewer people, especially for tasks like enrolling people in state benefits.“There’s a lot of jobs that we’re going to have to start looking at technology to solve,” Ms. Wolff said.The state’s 199 municipalities have an even tougher time increasing pay and adopting automated services. The state has limited their ability to raise revenue through property taxes, so it has been more difficult to compete. Skyrocketing housing costs are compounding that problem, fueled by high-income remote workers who moved out of bigger cities during the pandemic.Kelley Packer, director of the Association of Idaho Cities, said she had recently spoken with a member whose public works director had been forced to live in his car.“It’s a really interesting balancing act to allow for the growth to happen, and meet the needs of the housing crisis that we’re in, and still be able to provide services with a restricted property tax system,” Ms. Packer said.Of course, it’s not all about salary. Rivka Liss-Levinson, research director with Mission Square, said people usually listed three primary motivations to work for governments: job security, job satisfaction and robust retirement benefits. Conveying the value of comparatively generous health care coverage and pensions, plus the public service mission, is still the basic strategy.“Those things haven’t really changed over time,” Dr. Liss-Levinson said. “States and localities that are able to address these needs and concerns are the ones that are going to thrive when it comes to recruitment and retention.” More

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    How TV Writing Became a Dead-End Job

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    The writers say Hollywood studios are increasingly limiting their roles in television productions, highlighting a trend for white-collar workers.For the six years he worked on “The Mentalist,” beginning in 2009, Jordan Harper’s job was far more than a writing gig. He and his colleagues in the writers’ room of the weekly CBS drama were heavily involved in production. They weighed in on costumes and props, lingered on the set, provided feedback to actors and directors. The job lasted most of a year.But by 2018, when he worked on “Hightown,” a drama for Starz, the business of television writing had changed substantially. The writers spent about 20 weeks cranking out scripts, at which point most of their contracts ended, leaving many to scramble for additional work. The job of overseeing the filming and editing fell largely to the showrunner, the writer-producer in charge of a series.“On a show like ‘The Mentalist,’ we’d all go to set,” Mr. Harper said. “Now the other writers are cut free. Only the showrunner and possibly one other writer are kept on board.”The separation between writing and production, increasingly common in the streaming era, is one issue at the heart of the strike begun in May by roughly 11,500 Hollywood writers. They say the new approach requires more frequent job changes, making their work less steady, and has lowered writers’ earnings. Mr. Harper estimated that his income was less than half what it was seven years ago.While their union, the Writers Guild of America, has sought guarantees that each show will employ a minimum number of writers through the production process, the major studios have said such proposals are “incompatible with the creative nature of our industry.” The Alliance of Motion Picture and Television Producers, which bargains on behalf of Hollywood studios, declined to comment further.SAG-AFTRA, the actors’ union that went on strike last week, said its members had also felt the effects of the streaming era. While many acting jobs had long been shorter than those of writers, the union’s executive director, Duncan Crabtree-Ireland, said studios’ “extreme level of efficiency management” had led shows to break roles into smaller chunks and compress character story lines.But Hollywood is far from the only industry to have presided over such changes, which reflect a longer-term pattern: the fracturing of work into “many smaller, more degraded, poorly paid jobs,” as the labor historian Jason Resnikoff has put it.In recent decades, the shift has affected highly trained white-collar workers as well. Large law firms have relatively fewer equity partners and more lawyers off the standard partner track, according to data from ALM, the legal media and intelligence company. Universities employ fewer tenured professors as a share of their faculty and more untenured instructors. Large tech companies hire relatively fewer engineers, while raising armies of temps and contractors to test software, label web pages and do low-level programming.Over time, said Dr. Resnikoff, an assistant professor at the University of Groningen in the Netherlands, “you get this tiered work force of prestige workers and lesser workers” — fewer officers, more grunts. The writers’ experience shows how destabilizing that change can be.The strategy of breaking up complex jobs into simpler, lower-paid tasks has roots in meatpacking and manufacturing. At the turn of the 20th century, automobiles were produced largely in artisanal fashion by small teams of highly skilled “all around” mechanics who helped assemble a variety of components and systems — ignition, axles, transmission.By 1914, Ford Motor had repeatedly divided and subdivided these jobs, spreading more than 150 men across a vast assembly line. The workers typically performed a few simple tasks over and over.For decades, making television shows was similar in some ways to the early days of automaking: A team of writers would be involved in all parts of the production. Many of those who wrote scripts were also on set, and they often helped edit and polish the show into its final form.The “all around” approach had multiple benefits, writers say. Not least: It improved the quality of the show. “You can write a voice in your head, but if you don’t hear it,” said Erica Weiss, a co-showrunner of the CBS series “The Red Line,” “you don’t actually know if it works.”Ms. Weiss said having her writers on the set allowed them to rework lines after the actors’ table read, or rewrite a scene if it was suddenly moved indoors.She and other writers and showrunners said the system also taught young writers how to oversee a show — essentially grooming apprentices to become the master craftspeople of their day.But it is increasingly rare for writers to be on set. As in manufacturing, the job of making television shows is being broken down into more discrete tasks.In most streaming shows, the writers’ contracts expire before the filming begins. And even many cable and network shows now seek to separate writing from production. “It was a good experience, but I didn’t get to go to set,” said Mae Smith, a writer on the final season of the Showtime series “Billions.” “There wasn’t money to pay for me to go, even for an established, seven-season show.”Showtime did not respond to a request for comment. Industry analysts point out that studios have felt a growing need to rein in spending amid the decline of traditional television and pressure from investors to focus on profitability over subscriber growth.In addition to the possible effect on a show’s quality, this shift has affected the livelihoods of writers, who end up working fewer weeks a year. Guild data shows that the typical writer on a network series worked 38 weeks during the season that ended last year, versus 24 weeks on a streaming series — and only 14 weeks if a show had yet to receive a go-ahead. About half of writers now work in streaming, for which almost no original content was made just over a decade ago.Members of the Writers Guild of America have been on strike since May.Mark Abramson for The New York TimesMany have seen their weekly pay dwindle as well. Chris Keyser, a co-chair of the Writers Guild’s negotiating committee, said studios had traditionally paid writers well above the minimum weekly rate negotiated by the union as compensation for their role as producers — that is, for creating a dramatic universe, not just completing narrow assignments.But as studios have severed writing from production, they have pushed writers’ pay closer to the weekly minimum, essentially rolling back compensation for producing. According to the guild, roughly half of writers were paid the weekly minimum rate last year — about $4,000 to $4,500 for a junior writer on a show that has received a go-ahead and about $7,250 for a more senior writer — up from one-third in 2014.Writers also receive residual payments — a type of royalty — when an episode they write is reused, as when it is licensed into syndication, but say opportunities for residuals have narrowed because streamers typically don’t license or sell their shows. The Alliance of Motion Picture and Television Producers said in its statement that the writers’ most recent contract had increased residual payments substantially.(Actors receive residuals, too, and say their pay has suffered in other ways: The streaming era creates longer gaps between seasons, during which regular characters aren’t paid but often can’t commit to other projects.)The combination of these changes has upended the writing profession. With writing jobs ending more quickly, even established writers must look for new ones more frequently, throwing them into competition with their less-experienced colleagues. And because more writing jobs pay the minimum, studios have a financial incentive to hire more-established writers over less-established ones, preventing their ascent.“They can get a highly experienced writer for the same price or just a little more,” said Mr. Harper, who considers himself fortunate to have enjoyed success in the industry.Writers also say studios have found ways to limit the duration of their jobs beyond walling them off from production.Many junior writers are hired for a writers’ room only to be “rolled off” before the room ends, leaving a smaller group to finish the season’s scripts, said Bianca Sams, who has worked on shows including the CBS series “Training Day” and the CW program “Charmed.”“If they have to pay you weekly, at a certain point it becomes expensive to keep people,” Ms. Sams said. (The wages of junior writers are tied more closely to weeks of work rather than episodes.)The studios have chafed at writers’ description of their work as “gig” jobs, saying that most are guaranteed a certain number of weeks or episodes, and that they receive substantial health and pension benefits.But many writers fear that the long-term trend is for studios to break up their jobs into ever-smaller pieces that are stitched together by a single showrunner — the way a project manager might knit together software from the work of a variety of programmers. Some worry that eventually writers may be asked to simply rewrite chatbot-generated drafts.“I think the endgame is creating material in the cheapest, most piecemeal, automated way possible,” said Zayd Dohrn, a Writers Guild member who oversees the screen and stage master’s degree program at Northwestern University, “and having one layer of high-level creatives take the cheaply generated material and turn it into something.”He added, “It’s the way coders write code — in the most drone-like way.” More