This is a space for all people in nonfiction — documentary, reality TV, and film industry — to congregate, learn, share and mobilize…
WHAT IS THE NFU?
We are NOT a union, but instead, an advocacy coalition of non-fiction freelancers - from creative to logistics, from top to bottom roles, across all distribution platforms and show genres.
The NFU is dedicated to constitute better wages, working conditions, and benefits to all non-fiction, non-unionized television workers.
The NFU is dedicated to constitute better wages, working conditions, and benefits to all non-fiction, non-unionized television workers.
OUR MISSION
Our advocacy group's primary goal and focus is to FOSTER A MOVEMENT toward all non-fiction workers being incorporated INTO EXISTING UNIONS, as well as create network accountability and transformation of the non-fiction industry.
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A HISTORY LESSON
In 2000, reality and documentary TV was considered a passing fad. Many of the television networks didn’t account for unionizing doc programs due to their one-off, one-air distribution. Protecting these specialty workers wasn’t considered (or perhaps necessary), but rates were fairer to include contractors’ independently purchasing their own health insurance and 401Ks. Many networks had in-house productions that still ran through their main corporations; thus employee benefits and reimbursements were still required.
When networks ceased in-house productions between 2005-2008, independent production companies birthed without regulations or industry standards. Due to smaller reality budgets (than scripted), television networks and unions (at the time) brokered a deal to exclude non-fiction “producers” from the union membership; and that’s when titles, responsibilities and pay ranges became cryptic and untethered. Many “producers” are incorrectly titled. Many are writers, directors, editors, casting, talent, creative and/or logistical professionals, doing similar jobs as their scripted colleagues.
In 2004, producers walked out on Nash Entertainment's Outback Jack due to poor working conditions. The Writers Guild of America began unionizing efforts for story producers. Meanwhile in 2005, camera operators created a mass walkout of 3 Ball Entertainment | NBC's The Biggest Loser, and were able to be unionized in the camera departments within IATSE's International Cinematographer Guild (Local 600). They won and created a precedent! Larger scale productions, like America's Got Talent, The Voice, Ninja Warrior, and Temptation Island utilize unionized camera operators...but the smaller cable shows like Travel's Bizarre Foods, HGTV's Property Brothers and many others do not. In 2006, America's Next Top Model writers went on strike for recognition. Despite editor and community support, writers couldn't be unionized. In 2007, with the help of the WGA West, story producers collected recognition cards across the reality and doc TV industry, to gain protections and coverage for their scripted work, similar to that of their scripted fiction colleagues. The Motion Picture Editors Guild (IATSE Local 700) came into the fight, with the hope of unionizing editing story producers. For almost two years, the WGA West, Editors Guild and the story producers used corporate tactics against Fremantle and Original Productions. There were debates about which union to join and corporate network pressures that ended further movement and discussions on the West Coast. Ultimately by 2008, the WGA West turned their focus on a scripted strike instead. Unfortunately, non-fiction story producers were left out of the bargaining table. However since then, the Writers Guild of America East (and Editors Guild) have continued to try to organize story producers/writers/editors and have had greater success organizing East Coast production companies, like Vice Media, Vox, Optimum, Comedy Central and Peacock. The fight continues, as other unions (including the WGAW) are getting back into this fight with new organizing teams and with vigor...
By 2010, the Wild Wild West occurred in the non-fiction industry. Production companies proliferated without protections and consistent standards, at the detriment of non-fiction workers. As networks made more money and reality & doc TV became a lucrative business, viewership suddenly dissipated due to rapid growth (and inclusion of streamers) and so did show budgets. It, however, doesn’t explain the huge network profits; nor why production schedules shortened by half, freelancers burnt out in overworked exhaustion, and ratings were equal or higher than well-budgeted well-unionized scripted productions. In order to evade taxes and expensive overhead costs, networks found alternative filming locations, such as Atlanta, New Orleans and Dallas. By 2018-2019, Los Angeles and New York non-fiction freelancers were at another loss- their industry abandoned them.
Worsening conditions are now the norm. In 2020, non-fiction freelancers are rising up and fighting back. It’s about time. Previous attempts to unionize have faltered, but with social movements like #TimesUp and #PayUpHollywood, have created a pathway to success. We deserve to receive overtime, health and pension benefits, work breaks, residuals, and other safeguards. It’s not about hating the industry, it’s about the love of our industry...that we want our voices heard and to take a stand in solidarity.
When networks ceased in-house productions between 2005-2008, independent production companies birthed without regulations or industry standards. Due to smaller reality budgets (than scripted), television networks and unions (at the time) brokered a deal to exclude non-fiction “producers” from the union membership; and that’s when titles, responsibilities and pay ranges became cryptic and untethered. Many “producers” are incorrectly titled. Many are writers, directors, editors, casting, talent, creative and/or logistical professionals, doing similar jobs as their scripted colleagues.
In 2004, producers walked out on Nash Entertainment's Outback Jack due to poor working conditions. The Writers Guild of America began unionizing efforts for story producers. Meanwhile in 2005, camera operators created a mass walkout of 3 Ball Entertainment | NBC's The Biggest Loser, and were able to be unionized in the camera departments within IATSE's International Cinematographer Guild (Local 600). They won and created a precedent! Larger scale productions, like America's Got Talent, The Voice, Ninja Warrior, and Temptation Island utilize unionized camera operators...but the smaller cable shows like Travel's Bizarre Foods, HGTV's Property Brothers and many others do not. In 2006, America's Next Top Model writers went on strike for recognition. Despite editor and community support, writers couldn't be unionized. In 2007, with the help of the WGA West, story producers collected recognition cards across the reality and doc TV industry, to gain protections and coverage for their scripted work, similar to that of their scripted fiction colleagues. The Motion Picture Editors Guild (IATSE Local 700) came into the fight, with the hope of unionizing editing story producers. For almost two years, the WGA West, Editors Guild and the story producers used corporate tactics against Fremantle and Original Productions. There were debates about which union to join and corporate network pressures that ended further movement and discussions on the West Coast. Ultimately by 2008, the WGA West turned their focus on a scripted strike instead. Unfortunately, non-fiction story producers were left out of the bargaining table. However since then, the Writers Guild of America East (and Editors Guild) have continued to try to organize story producers/writers/editors and have had greater success organizing East Coast production companies, like Vice Media, Vox, Optimum, Comedy Central and Peacock. The fight continues, as other unions (including the WGAW) are getting back into this fight with new organizing teams and with vigor...
By 2010, the Wild Wild West occurred in the non-fiction industry. Production companies proliferated without protections and consistent standards, at the detriment of non-fiction workers. As networks made more money and reality & doc TV became a lucrative business, viewership suddenly dissipated due to rapid growth (and inclusion of streamers) and so did show budgets. It, however, doesn’t explain the huge network profits; nor why production schedules shortened by half, freelancers burnt out in overworked exhaustion, and ratings were equal or higher than well-budgeted well-unionized scripted productions. In order to evade taxes and expensive overhead costs, networks found alternative filming locations, such as Atlanta, New Orleans and Dallas. By 2018-2019, Los Angeles and New York non-fiction freelancers were at another loss- their industry abandoned them.
Worsening conditions are now the norm. In 2020, non-fiction freelancers are rising up and fighting back. It’s about time. Previous attempts to unionize have faltered, but with social movements like #TimesUp and #PayUpHollywood, have created a pathway to success. We deserve to receive overtime, health and pension benefits, work breaks, residuals, and other safeguards. It’s not about hating the industry, it’s about the love of our industry...that we want our voices heard and to take a stand in solidarity.
OUR RISE
Began in late 2018, the Non-Fiction "Union" held their first meeting with only a handful of non-union documentary TV freelancers. From 2018-2019, the reality and documentary industry largely abandoned Los Angeles for cheaper cities, like Atlanta, New Orleans, Austin and Dallas. By Spring 2019, it became challenging and frustrating for freelancers to get jobs, and this is when the coalition began to gain traction. In May 2019, freelancers attended NFU meetings and started sharing stories. From August through October, the NFU had gained a group of interested and dedicated folks, passionate and eager to mobilize, despite their natural fear to become vocal. We received press from The Hollywood Reporter in September 2019, regarding story producer's decreasing wages. This press circulated on both East and West Coasts, and a rapid interest began in the NFU initiatives.
On October 20th, the NFU invited the entertainment unions (WGA East, WGA West, DGA, IATSE, Editors Guild, Teamsters) for an all-hands NFU | Union Meeting, where the NFU Founder, Johanna Vanderspool, and many other freelancers (from showrunners, field producers, story producers, production managers, casting producers, associate producers) provided testimonials...giving the unions an education about our culture and work conditions; while they also educated the NFU about their structure and how to join initiatives. The NFU researched thoroughly (pay rates, titles, current industry protocols) and wrote an informative and robust presentation that shared the intricate structure of our reality business and exposed the harsh truths about decreasing wages and unsafe work conditions. With nearly 125 in attendance at the Writers Guild of America West offices, we were finally The NonFiction "Union," an advocacy coalition working on behalf of all non-unionized non-fiction freelancers...from across all roles and departments. Not only were freelancers blown away by this meeting, so were the union organizers, as many had never met their union rep counterpart! This historical and unprecedented meeting set our boat to sail...
In January 2020, the NFU has re-set goals for a major push toward a strong coalition and mobilization, with the ultimate goals of getting non-fiction freelancers recognized and organized into existing unions. By Mid- March 2020 (with COVID 19 Stay At Home orders), it has brought the NFU fully in motion with over 1500 members...on the rise and rising.
In January 2021, we have renamed to be "NonFiction United." Last year, we made huge strides with great exposure, press coverage, gaining 2400+ members nationwide, found our primary unions (WGA East/West + Teamsters), gathered freelancer "intel" via phone banking, executed a few education seminars...and set up vital systems to make our way to organizing our first unionizing campaign...which is now coming in 2021!
NFU MEMBER QUOTES
"We know accountability begins and ends with the Godfathers, aka the television networks and streamers. They set the mandates, and production companies, aka The Family Titans, execute them. We, as the children- from showrunner to production assistant- are at their beck and call and set up often to be disregarded. Our health, safety, worth and future is often lacking consideration. We’re here to start the conversation, educate the public and rehabilitate the industry we love." - NFU Showrunner
“Due in part to the COVID pandemic and the Stay at Home order, it’s become abundantly clear that non-fiction freelancers have been left behind and discarded with no network or production company economic relief packages and immediate furloughs with no consideration for their futures. We have made their shows, in often abusive and unhealthy conditions, but have no protections. While our unionized colleagues have relief measures in place, many of our workers live 2-3 checks away from complete destitution. Our industry standards have been lowering every year, and there is great fear that returning to work post COVID, many will have to sacrifice their health, safety, pay rates and lower once again their meager standards just to return to the work they love. The NFU Raise Our Standards is a way to educate industry and non industry people about our plight, as well as hold television networks and streamers accountable for their actions.” - NFU Production Manager
