The Channel | 2006 | July

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In September 2003, SchardtMEDIA
embarked on an extensive analysis of US
public radio’s “independent landscape.”
With research partners Craig Oliver and
George Bailey/Walrus Research and guided
by a dozen advisors representing a broad
cross-section of public radio’s key
constituencies, Mapping Public Radio’s
Independent Landscape surveyed 345
programme makers and acquirers,
analysed a sample of 2700 hours of content,
and debriefed more than 70 key decision-
makers on the findings. The goal was
simple: to answer the question “what is the
value of independently produced
programming in public radio?”
This bench-mark study, released in two
separate reports and available for download
at provides new
insight into the unique relationship between
acquirers – network editors, station news and
programme directors – and freelance-
independent producers in the United States.
The study paints a picture of a divided
programming culture in an increasingly
consolidated environment, and a
resource of producers both underutilised
and restricted in the craft of radio-
making. This at a time when US public
radio, like most public service
broadcasters across the world, stands at
a cross-road brought by segmenting and
declining audience, technology-driven
competition, and a demand for new
thinking and bold action.
The Mapping study provides extensive
details on such practical matters as which
format is in greatest demand from
freelancer producers (2-10 minute features
dropped into news magazines), where
producers and acquirers have their
greatest differences of opinion (the effect
of research on the industry), the news that
just 2% of the content stream is comprised
of independent-freelance work, and a first-
time look at the three “cohorts” of
Sue Schardt takes an inside
look at US radio through
the lens of freelance
programming
“In the last few years, the mandate of
the print industry to raise profits has
superceded the mandate to serve the
needs of the public with strong,
investigative journalism. We’ve
witnessed the withering of what was
once a strong institution. NPR really
is one of the few remaining bastions
in America of what journalism ought
to be, with an obligation to provide
citizens with information to allow them
to evaluate and hold accountable, by
virtue of a free press, powerful elected
officials and candidates for office.”
Bill Marimow, VP for News, NPR (2005)
producers defined by their
opinions and professional
practices:
Idealists identify as journalist-
reporters; prolific in the variety
of formatstheyworkin;consider
themselvesentrepreneurial;are
the likeliest group to be trying
to bemaking a livingwith their
independent production
work.
OutsidersOutsiders identify as artists
or writers; often employed
outside of public radio; tend
to view negatively the
impact research has had on
programming and the
evolution of the industry.
Realists also identify as journalist-reporters;
produce primarily in short-form news feature
format; the majority are employed full or part-
time within public radio, filing freelance on
the side.
The Mapping study also begins to bring into
focus some of the markers of the “economy”
of independent production in the U.S. The
picture is bleak. Among the top-line
findings are that public radio collectively
expends approximately $25,000 per week, or
$1.3million per year on programming from
freelance-independent producers, that
nearly 40% of independents do not
generate net income from their radio work,
and that “self-funding” is at the top of the
list of funding sources by independents.
We found from our analysis and subsequent
system stake-holder debriefings that public
radio programme makers – acquirers and
producers alike – share four concerns that
are universal, closely linked, and have an
impact on virtually all sectors of the industry:
1. Revenue. Pressure is on public radio
at every level to develop a new model for
funding programme production. With a
national audience that has declined for the
Thinking
the box
out of