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Been thinking about the Comics Workforce Study I conducted last year, and how the findings relate to conversations I see happening this year...
Incoming thread. 1/?
Incoming thread. 1/?
Quick aside, this research is available at https://sites.google.com/view/cws2019/ .
This">https://sites.google.com/view/cws2... data was compiled from survey that went out via social media. There were 749 responses total, but not all were complete (will address this as I go). 2/
This">https://sites.google.com/view/cws2... data was compiled from survey that went out via social media. There were 749 responses total, but not all were complete (will address this as I go). 2/
Out of 749 responses, 529 (70.6%) reported their gender.
From this subgroup, roughly 41% were men, 42% were women, 12% were nonbinary, and 5% were from other gender identity groups. 3/
From this subgroup, roughly 41% were men, 42% were women, 12% were nonbinary, and 5% were from other gender identity groups. 3/
At first glance, the near parity between men and women seems promising. However, when you consider how people are disbursed within the industry by gender, there is a clear pattern displayed.
Men tend to land in the most visible positions within the industry at higher rates. 4/
Men tend to land in the most visible positions within the industry at higher rates. 4/
Is this inherently bad? Not necessarily.
528 participants shared their position within the industry. Visible positions were generally more common within the industry, which is not particularly surprising.
But why are the marginalized folks hidden behind the scenes? 5/
528 participants shared their position within the industry. Visible positions were generally more common within the industry, which is not particularly surprising.
But why are the marginalized folks hidden behind the scenes? 5/
(That question was rhetorical, I technically can& #39;t answer it with my data, but ANYWAY) 6/
While there& #39;s definitely room for improvement on with respect to gender, let& #39;s talk about race.
604 (roughly 81%) of the participants shared their race.
69% were white. Some of these folks also identified with other racial or ethnic groups, so there& #39;s overlap represented. 7/
604 (roughly 81%) of the participants shared their race.
69% were white. Some of these folks also identified with other racial or ethnic groups, so there& #39;s overlap represented. 7/
When we consider how folks are disbursed in the industry by race and ethnicity, similar patterns show up: the most visible positions are generally more likely to be occupied by the group with the most social privilege (in this case, that& #39;s white workers) 8/
With respect to sexual orientation, 529 participants (roughly 71%) shared their identities.
While the largest group was heterosexuals, bisexuals showed has a strong presence in these data.
It& #39;s worth noting that it cannot be determined if any these folks are "out" at work. 9/
While the largest group was heterosexuals, bisexuals showed has a strong presence in these data.
It& #39;s worth noting that it cannot be determined if any these folks are "out" at work. 9/
Again, similar patterns of privilege are displayed by the data. Marginalized folks are typically less likely to be in the most visible positions throughout the industry. 10/
These issues compound in complex ways. So much so that my data couldn& #39;t support intersectional analyses (subgroups were too small to generalize).
These data describe likeliness - how much more likely are you to land a visible position in comics based on privilege(s)? 11/
These data describe likeliness - how much more likely are you to land a visible position in comics based on privilege(s)? 11/
What exactly do I mean by a "visible position"? Great question!
I& #39;m talking about labor positions that are commonly credited visibly - think credits, rights to IP, etc. Generally, these are more likely to be folks whose names are on the comic& #39;s cover (writers and artists) 12/
I& #39;m talking about labor positions that are commonly credited visibly - think credits, rights to IP, etc. Generally, these are more likely to be folks whose names are on the comic& #39;s cover (writers and artists) 12/
There& #39;s nuance to this, of course. Positions like coloring and lettering are generally undervalued even though their contributions are more visible in the finished comic than editing or marketing folks.
*Generally, everyone who works on a book is credited in the title page 13/
*Generally, everyone who works on a book is credited in the title page 13/
These data raise big questions about who performs what type(s) of work in comics, and why these patterns are so strongly aligned with systems of oppression.
These data also point to a larger question: who are the gatekeepers? Who is actually in power to shape the workforce?
These data also point to a larger question: who are the gatekeepers? Who is actually in power to shape the workforce?
Why am I focused on visibility?
Visibility brings status. Status offers a degree of security. This does not always translate to direct positions of power. Folks can benefit from privilege without being able to change the structure they benefit from as an individual. 15(?)/
Visibility brings status. Status offers a degree of security. This does not always translate to direct positions of power. Folks can benefit from privilege without being able to change the structure they benefit from as an individual. 15(?)/
So... Who are the actual gatekeepers? This is a tricky question because it will vary between publishers.
Acquisitions and HR are concerned with two very different forms of diversity. Not all publishers have HR departments. Not all publishers have editorial departments. 16/
Acquisitions and HR are concerned with two very different forms of diversity. Not all publishers have HR departments. Not all publishers have editorial departments. 16/
If you& #39;re concerned with diversity of the stories, perhaps your concern is with editorial... in which case, you& #39;re looking at a group who (in these data) is most likely to be bisexual, white, and/or a woman.
Is your editorial department actually diverse? 17/
Is your editorial department actually diverse? 17/
If you& #39;re concerned with staff, perhaps your concern is with CEOS, HR, and similar staffers at the publisher (reflected in part by the "other" category).
Who gets to make those decisions at your favorite publisher? Is THAT group of folks diverse? 18/
Who gets to make those decisions at your favorite publisher? Is THAT group of folks diverse? 18/
478 participants (roughly 64%) shared their work status.
Of this subgroup, 68% reported working on a contract-to-contract basis (broadly described as "freelance"; this proportion may also include independent contractors).
Less than 10% were "employed" in comics. 19/
Of this subgroup, 68% reported working on a contract-to-contract basis (broadly described as "freelance"; this proportion may also include independent contractors).
Less than 10% were "employed" in comics. 19/
I& #39;m going to repeat that. Less than 10% of the sample were "employed" by a publisher.
556 participants (roughly 74%) shared how they& #39;ve been published within the past 3 years.
Many of these folks were in "exclusive" contracts with publishers, yet not "employed" by them. 20/
556 participants (roughly 74%) shared how they& #39;ve been published within the past 3 years.
Many of these folks were in "exclusive" contracts with publishers, yet not "employed" by them. 20/
When I& #39;m talking about job stability in comics, I& #39;m generally talking about longevity - the ability to constantly maintain working contracts and have your work published.
This does not necessarily refer to positions with benefits.
This doesn& #39;t even refer to stable pay. 21/
This does not necessarily refer to positions with benefits.
This doesn& #39;t even refer to stable pay. 21/
504 participants (roughly 67%) shared their insurance status...
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While it& #39;s unclear in these data whether folks who have insurance through their employer got it through their PUBLISHER, thematic analysis of the survey comments suggests that it may be common for folks to seek employment outside of comics specifically for health insurance 23/
Which is interesting, because out of 487 participants (roughly 64% total responses), over half had GAINED health problems due to their work in comics. 24/
This analysis offers predictive values for who is most likely to have a health problem due to comics work: https://sites.google.com/view/cws2019/details-analyses/predicting-health-problems?authuser=0
TLDR">https://sites.google.com/view/cws2... - marginalized folks generally were more likely to experience health problems 25/
TLDR">https://sites.google.com/view/cws2... - marginalized folks generally were more likely to experience health problems 25/
Based upon these data, the lingering question I have is: WHO gets to experience true longevity in the industry? 26/
What workers are protected by employment law? Cared for and preserved from degradation? Placed in positions where there can be witnesses for their experiences?
Who gets to decide whose bodies are on the line?
Who decides what bodies are in the room making these decisions? 27/
Who gets to decide whose bodies are on the line?
Who decides what bodies are in the room making these decisions? 27/
Again, the answer to any of these questions is complicated and will depend on the specific publisher you& #39;re looking at.
In the broadest sense, the comics is one big leaky pipeline for marginalized folks. There are layers upon layers of systemic problems present 28/
In the broadest sense, the comics is one big leaky pipeline for marginalized folks. There are layers upon layers of systemic problems present 28/
In the wake of many conversations about predators in the industry, I have heard many folks call for procedural uniformity - a place to go for guidance or support as a worker with grievances.
There is currently no clear mechanism within comics for establishing this. 29/
There is currently no clear mechanism within comics for establishing this. 29/
As Audre Lourde once said: "The masters tools will never dismantle the masters house".
Calling for an industry that doesn& #39;t even technically EMPLOY the majority of its workers to protect them is idealistic, but it relies on the goodwill of individual publishers to answer 30/
Calling for an industry that doesn& #39;t even technically EMPLOY the majority of its workers to protect them is idealistic, but it relies on the goodwill of individual publishers to answer 30/
You know what often sees results? Direct action. Visible, collective action from the workers. Workers ACROSS the industry working towards shared interests.
Performative solidarity won& #39;t solve the issue of structural inequality in comics. Unionize. #UnionizeComics 31/31(final)
Performative solidarity won& #39;t solve the issue of structural inequality in comics. Unionize. #UnionizeComics 31/31(final)
Addendum: I mostly discussed workplace dynamics, but comics certainly has a representation problem on the page as well. In many ways, these issues exacerbate each other.
See https://twitter.com/diversebooks/status/1276509365592358912">https://twitter.com/diversebo... for relevant discussion.
See https://twitter.com/diversebooks/status/1276509365592358912">https://twitter.com/diversebo... for relevant discussion.
While I have your attention, consider signing a few petitions? https://blmsites.carrd.co/ ">https://blmsites.carrd.co/">...
Another addendum: Are you a worker in the American comics industry that is looking for a union to join?
May I suggest:
- The IWW (has a specific charter to support printing and publishing staff, including comics folks)
- Writers Guild of America (includes graphic novelists)
May I suggest:
- The IWW (has a specific charter to support printing and publishing staff, including comics folks)
- Writers Guild of America (includes graphic novelists)
Final addendum (for now, at least): if you enjoyed this thread, learned something here, or simply want to support my research, feel free to buy me a coffee at http://ko-fi.com/stillsasha ">https://ko-fi.com/stillsash...
