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Ghostwriters Just Got an AI Rulebook. Here’s What’s in It.

A new industry framework tackles disclosure, copyright risk, and the thorny question of what "no AI" actually means in a writing contract.

By Miles Jennings
@milesworks
CEO of Mediabistro, a career community of creative and media professionals
7 min read • Originally published April 23, 2026 / Updated April 23, 2026
By Miles Jennings
@milesworks
CEO of Mediabistro, a career community of creative and media professionals
7 min read • Originally published April 23, 2026 / Updated April 23, 2026

A coalition of leading ghostwriting professionals just released something the industry has needed for a while: a clear, practical framework for how ghostwriters and their clients should handle AI.

The document, called “AI Guidelines for Ghostwriting,” was released on April 22, 2026, by the Working Group on AI Guidelines for Ghostwriting, convened by Gotham Ghostwriters. It covers everything from disclosure obligations to copyright risk, and it’s worth reading closely if you work in collaborative writing of any kind.

Why This Moment Matters

Ghostwriting has always operated on trust. A client hands you their ideas, their stories, sometimes their most personal experiences, and you transform them into something publishable. That relationship depends on a shared understanding of how the work gets done. AI has quietly complicated that understanding in ways that most client agreements haven’t caught up with.

Are you using AI for writing? How about an AI grammar tool? A transcription service? A chatbot to brainstorm chapter structure? All of those count. And if your client doesn’t know, you’re operating in a gray area that could create real problems down the line, including legal ones.

The new guidelines try to close that gap by giving writers and clients a shared vocabulary for these conversations. That’s more useful than it might sound. When you’re negotiating a contract, having a clear checklist of AI use categories is a lot more productive than a vague clause saying “no AI.”

The Core Principles

The guidelines open with a statement of principles that sets a useful baseline. A few stand out:

  • Writing is a fundamentally human activity. The document doesn’t frame AI as the enemy, but it does insist that human-created writing has qualities AI-generated text lacks: originality, taste, and wit. That’s a clear-eyed position, and it’s one most working writers already know from experience.
  • AI is a tool, not a replacement. The guidelines explicitly acknowledge that AI can improve efficiency across a range of writing-related tasks. The concern isn’t AI itself but the absence of clear agreements about how it’s being used.
  • Technology doesn’t replace trust. AI detection tools are notoriously unreliable. The guidelines correctly point out that no software can substitute for a genuine, documented agreement between writer and client. This is a profession built on relationships, and that doesn’t change because the tools have changed.

A Tiered Disclosure Framework

The most practically useful part of the guidelines is the disclosure framework, which organizes AI use into three tiers.

The first tier covers utilitarian and administrative uses: transcribing audio interviews, checking spelling and grammar, cleaning up citations, reviewing text for inconsistencies. These are the kinds of AI applications that have been built into everyday writing tools for years, and the guidelines treat them as largely uncontroversial, while still requiring disclosure.

The second tier covers research, analysis, and collaboration: AI-augmented web searches, producing research reports, summarizing papers or recordings, using AI as a thought partner during brainstorming. This is where many writers are already operating, often without formally telling clients. The guidelines ask for transparency here.

The third tier covers generative uses: suggesting titles and headings, generating outlines, drafting text that will later be revised, suggesting reorganization. The guidelines note, pointedly, that generating text that won’t be revised further “is not recommended, due to copyright risk.” More on that in a moment.

The key phrase throughout is that “writers cannot comply with a directive like ‘Do not use AI at all,’ because essential tools, including grammar checkers and web searches, incorporate AI.” Writers and clients need to be specific. Vague contract language isn’t going to protect anyone.

The Copyright Risk Is Real

One of the most consequential sections of the guidelines addresses copyright. The U.S. Copyright Office has ruled that material generated entirely by AI without human authorship is not protected by copyright. That means if a ghostwriter generates final text using an AI tool and doesn’t meaningfully revise it, that text may have no copyright protection at all. For a client paying for a book they intend to publish and own, that’s a serious problem.

The guidelines also flag training risk: by default, material uploaded to public AI models can be used to train those models, which could compromise a client’s confidential information or intellectual property. Writers using AI tools on client projects need to know which settings to use to limit this, and clients need to know their writer is paying attention to it.

There’s also plagiarism risk. AI models generate text pulled from existing sources, often without attribution. A ghostwriter who publishes AI-generated content without carefully checking it could be handing a client plagiarized material. And factual errors, what the field calls “hallucinations,” remain common enough that any AI-surfaced fact needs independent verification before it goes into a manuscript.

Clients Have Responsibilities Too

The guidelines don’t let clients off the hook. If a client provides AI-generated source material to their ghostwriter, they need to say so. That material carries the same factual, copyright, and plagiarism risks as anything else AI generates. A client who hands over an AI-written brain dump without disclosing it is potentially setting their ghostwriter up for a problem they didn’t agree to take on.

The framework treats ghostwriting as a genuine partnership, with obligations running in both directions. That framing is right. The best client-ghostwriter relationships have always worked that way.

What This Means for Your Practice

If you’re a working ghostwriter, the practical takeaway is to use this document as a contract conversation starter. The working group explicitly encourages writers to share the guidelines with clients and use it to negotiate a clear agreement on which AI uses will and won’t be part of a given project. That kind of documented clarity protects everyone.

For what it’s worth, Gotham Ghostwriters CEO Dan Gerstein isn’t worried about demand. If anything, he says AI is creating new clients.

“Over the last year we are encountering a whole new sub-class of prospective clients we refer to as ‘AI refugees’ — non-writer authors who tried to use ChatGPT to write their book and found the results at a minimum unsatisfactory and often unusable,” Gerstein told Mediabistro.

He expects the trend to hold, and points to two forces driving it: the coming glut of AI-generated content will pressure authors to tell original, differentiating stories, and AI turns out to be poorly suited for the core work of ghostwriting.

“A technology that relies on human prompts can’t come up with concepts and book hooks that are original to the author’s unique ideas and life experience. It can’t extract insights and stories that can’t be found in any LLM because they exist only in the author’s head. And perhaps most notably, it can’t win the author’s trust, break down their walls, and get them to be vulnerable and go deep in a way that they would never do on their own.”

If you’re new to ghostwriting and still building your practice, it’s worth grounding yourself in the fundamentals of the craft before layering on AI tools. Mediabistro’s guide on how to become a successful ghostwriter covers the core skills, and there’s also a deeper breakdown of what ghostwriters actually do day to day that’s useful for anyone still figuring out whether this career path fits.

Mediabistro also offers a course specifically on getting started with ghostwriting for those who want structured guidance.

On the business side, the AI conversation overlaps with broader questions about how you price and protect your work. If you’re not sure how to factor AI disclosure requirements into your rate structure or contracts, Mediabistro’s piece on setting your freelance writing rate is a reasonable place to start thinking about it.

An Evolving Document

The working group is explicit that these guidelines will be updated as AI tools and industry needs evolve. That’s the right approach. Anyone who claims to have a final, complete answer to how AI should be used in writing is not paying attention to how fast this area is moving.

What the guidelines get right is the underlying principle: clarity between collaborators is non-negotiable, regardless of the tools either party uses. That’s been true in ghostwriting long before AI existed. The new document just gives the industry a shared framework for applying it to a changed reality.

The full guidelines, including the complete disclosure checklist and guidance on how to use the document in client negotiations, are available at gothamghostwriters.com/ai-guidelines.

Topics:

media-news
media-news

Who Gets to Retell American Stories? Follow the Money.

A24 bets on a first-time franchise director. Broadway stages political satire. SNL UK proves reach and revenue are different things.

Mediabistro icon
By Mediabistro
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
6 min read • Published April 23, 2026
Mediabistro icon
By Mediabistro
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
6 min read • Published April 23, 2026

A24 acquired the rights to The Texas Chainsaw Massacre and immediately handed the property to Curry Barker, a filmmaker with one feature credit. That tells you something about how American entertainment picks who gets to retell its stories.

The question isn’t whether to revisit familiar territory. Franchises, formats, and narratives about power cycle through the system constantly. The question is who directs the revision, what audience shows up, and how anyone decides whether it worked.

Three stories illustrate different ends of that cycle. A studio bets on a director to reimagine a 50-year-old horror franchise. A Broadway comedy about a neighborhood association finds commercial traction by staging American dysfunction at the scale of a homeowners’ meeting. And a legacy format crosses the Atlantic, generates massive social engagement, and simultaneously loses linear viewers, leaving the industry to decide which metric matters.

A24 Keeps Betting on Directors, Not Franchises

Curry Barker’s hire follows a clear A24 pattern: acquire IP, then treat it as a vehicle for directorial vision rather than a property to be protected. Barker’s debut feature, Obsession, showed he could execute horror with precision and restraint.

A24 is betting he can bring that to a franchise that has cycled through eight previous films, most of them forgettable. Read the full story at Variety.

The professional signal is straightforward. A24’s model creates launchpad opportunities for filmmakers willing to work within genre constraints while asserting creative control. For directors early in their careers, it’s one of the clearest paths from festival attention to studio-backed production.

Kelly Reichardt provided the intellectual backdrop. Speaking at the Visions du Réel documentary festival in Switzerland, she told the audience that “the American story keeps repeating itself.” She was discussing her own films about power, hierarchy, and hubris, but the observation travels.

American entertainment returns to the same narratives because American culture returns to the same conflicts. Read Reichardt’s full remarks at Variety.

Reichardt and Barker represent two ends of a career arc. One has spent decades interrogating American myths with rigor. The other is getting the chance to apply his vision to a property with built-in commercial recognition. Both are revisiting familiar territory with fresh perspective.

Key Takeaway: Studios are still buying IP. The more interesting question is who they trust to execute it. A24’s track record suggests they prioritize filmmakers who can balance commercial genre expectations with authorial voice.

That creates openings for directors, writers, and creative leads who can operate within structure without defaulting to formula. Career transitions from independent filmmaking to studio-backed work increasingly depend on demonstrating that balance early.

Broadway Found a Way to Stage National Dysfunction

The Balusters, a comedy about a neighborhood association riven by prejudice and petty power struggles, opened on Broadway to strong reviews. Variety called it “brilliant and brutally funny,” praising the production’s ability to distill national political dysfunction into the dynamics of a homeowners’ meeting.

Anika Noni Rose and Richard Thomas star, serious talent attached to material that landed as sharp social observation rather than sketch comedy. Read the full review at Variety.

The commercial bet is specific. Broadway producers greenlit a play about a neighborhood association (essentially the smallest possible scale of American governance) and charged Broadway ticket prices for it. That reflects a calculation about what audiences will pay for right now: intimate political satire performed by actors with name recognition.

Deadline’s review echoed the response, describing the play as a reminder of “hell hath no fury like a well-intentioned self-appointed watchdog challenged.” The comparison points were recent ensemble comedies like Eureka Day and The Minutes, both of which mined similar territory: small-group dynamics as microcosm for larger political fractures.

The pattern suggests Broadway is finding traction in material that would have seemed too small-scale a decade ago. Intimate plays with strong scripts and serious acting talent require less capital than large-scale musicals, and they offer clearer paths to profitability when they connect with critics and audiences.

For writers, directors, and producers in live entertainment: there’s commercial room for political comedy that tackles contemporary anxieties directly.

86 Million Views. One-Third Fewer TV Viewers. Pick Your Metric.

Saturday Night Live UK launched a month ago on Sky, and the early data reveals the measurement crisis in live entertainment with unusual clarity. The show has generated more than 86 million views across social media. Its linear television viewership dropped by a third compared to launch night.

Both numbers are accurate. Which one defines success depends entirely on the business model, which remains genuinely unsettled.

The social engagement is staggering. Clips are circulating widely, the comedy is connecting, and the format translates culturally. The linear decline is equally real. Fewer people are tuning in on Saturday nights for the broadcast, which remains the traditional revenue driver for live television.

The Measurement Crisis: Social views generate brand awareness and cultural relevance. Linear viewership generates advertising revenue and subscription retention. They don’t convert directly into each other, and prioritizing one often means sacrificing the other.

For anyone in format development, platform strategy, or live entertainment production, this is the clearest real-world version of a question the industry has been debating for years: what counts as reach, and how do you monetize it?

If the goal is cultural penetration and clip virality, the show is succeeding. If the goal is sustaining Saturday night appointment viewing that justifies premium ad rates, the trend is troubling. Both goals are legitimate. Achieving one doesn’t guarantee the other.

Format exports and live entertainment ventures increasingly require parallel success metrics from the start: distinct strategies for social engagement and linear viewing, designed simultaneously. The assumption that one metric naturally leads to the other is dead.

What This Means

A24’s model shows that studios will bet on directorial vision when the filmmaker can execute within genre constraints. Broadway’s willingness to stage intimate political satire shows commercial room for material that addresses contemporary anxieties without allegory. And SNL UK’s split metrics remind everyone in live entertainment that success is ambiguous until you define which numbers you’re chasing.

For jobseekers: the work exists, but access depends on demonstrating the ability to balance creative vision with commercial structure. That opens doors whether you’re directing a franchise reboot or developing a live format for multiple platforms.

If you’re looking for your next opportunity in media, film, or entertainment production, browse open roles on Mediabistro.

For employers building teams to execute these projects: the professionals who understand how to work within established formats while bringing fresh perspective are in demand across studios, production companies, and platforms. Post a job on Mediabistro to reach them.

The stories keep cycling. The question is who gets to direct the next pass, and whether the metrics you’re using to measure success match the outcomes you actually need.


This media news roundup is automatically curated to keep our community up to date on interesting happenings in the creative, media, and publishing professions. It may contain factual errors and should be read for general and informational purposes only. Please refer to the original source of each news item for specific inquiries.

Topics:

media-news
Entertainment

The 8 fastest-growing outdoor and mobile businesses this summer

The 8 fastest-growing outdoor and mobile businesses this summer
By Kim Mercado for ERGO NEXT
6 min read • Published April 22, 2026
By Kim Mercado for ERGO NEXT
6 min read • Published April 22, 2026

A vacuum cleans the interior of a car.

Natali-Natali love // Shutterstock

The 8 fastest-growing outdoor and mobile businesses this summer

From high-tech car washes to mobile mixology, the distance between professional services and a customer’s front door is shrinking. Driven by a nationwide shift toward on-demand services, successful entrepreneurs are ditching the storefront and taking their expertise literally and directly to customers — especially during the weather-friendly summer months.

These trends reflect a mix of market growth, changing consumer expectations and the rapid adoption of mobile-first service models. Based on their market research, ERGO NEXT has analyzed and picked eight of the fastest-growing outdoor and mobile service businesses near you.

1. The mobile pet grooming revolution

Mobile pet grooming is no longer just a premium service; it’s a common choice for busy households. Urban dwellers account for over 83% of all mobile grooming customers, according to one 2026 study. Per that study, consumers are prioritizing services that simplify their life, with 73% reporting higher satisfaction due to reduced pet anxiety and time-savings.

Many mobile pet grooming business owners consider general liability insurance and animal bailee coverage to help protect their business interests.

2. Cardio is the new community with social fitness

Going to the gym is a grind. Outdoor social fitness interest is growing as people ditch indoor workout boredom for local pods that meet in parks, beaches and public squares. This shift is repositioning the weekly workout as more of a community event than a chore.

In 2026, Adult Recreation and Sport Clubs broke into the American College of Sports Medicine top 10 for the first time, signaling a growing interest in activities like outdoor pickleball and running clubs. Even more telling? 73% of club members report that community connection is their primary motivator for staying consistent, according to a 2025 report by ABC Fitness.

For a fitness-minded entrepreneur, this can create opportunities. Launching a mobile fitness boutique — bringing gear like portable rowers or kettlebells to a local park — can build a business with lower real estate and startup costs.

Note that if your business operates in public spaces, there can be added risks from uneven ground and other passersby. Many fitness professionals consider business liability insurance to help cover some unexpected events.

3. The rise of onsite car washing and eco-detailing

Driven by tightening water restrictions and a surge in EV ownership, the mobile car wash and detailing market is estimated to reach $137 billion globally this year. Mobile operators are gaining share in part because customers increasingly value at-home convenience and flexible scheduling — as well as eco-focused washes and detailing.

Waterless car washes mean you don’t need a massive water tank trailer. A high-end kit can fit in a standard SUV. And while a basic exterior wash might only net a 15%-20% margin, premium eco-services like ceramic and graphene coatings — which require waterless prep — can push profit margins over 60%.

4. The Amazon-effect: On-demand home repair

The home repair services market is growing quickly, with some estimates projecting a 26.6% growth rate for on-demand and app-based services. Homeowners want Amazon-level immediate service; a 2025 survey conducted by Jobber found that over 70% of customers expect a same-day response.

The solution to meet this demand? Mobile platforms and marketplaces like Jobber, Thumbtack and Taskrabbit can help sole proprietors and small teams handle instant quotes and real-time scheduling with less back-office staff overhead.

But speed doesn’t mean skipping the safety net. If you’re a handyman, plumber, electrician or any other type of home repair contractor working inside a client’s home, you’re facing significant liability. Many contractors and repair professionals — no matter how small — consider general liability insurance and Contractor’s E&O insurance to help manage risks tied to on-site work and service-related claims.

5. A boom in mobile tire repair

Mobile tire repair and installation has become a growing part of the on-demand automotive economy, a sector some say is growing 8.5% annually. From busy families to delivery fleets, drivers aren’t willing to sacrifice half a day at a repair shop when the shop can come to them.

For the modern entrepreneur, this is an essential service model with a built-in, recurring customer base. Whether you’re handling emergency roadside flats, scheduled seasonal swaps or offering semi-annual rotations and checks at an office park, you’re selling something more valuable than rubber: convenience and time savings.

But jacking up a vehicle in a public space comes with high-stakes responsibility. You aren’t just a mechanic; you’re a risk manager. Many operators consider business liability insurance coverage to help protect their business interests.

6. Mobile e-bike repair: The ‘tech-medic’ on wheels

Bike repair used to mean a patch kit and some grease. But e-bikes are changing the industry. Part vehicle, part computer, owners are looking for experts to help keep them rolling. With the e-bike maintenance market’s growth rate at 12.7% — reaching nearly $700 million this year — the mobile bike shop has evolved into a specialized industry.

For the modern entrepreneur, the beauty of this business is convenience. Because hauling a 60-pound electric bike to a shop is a real chore, customers are willing to pay a premium for a driveway tune-up or repair.

But with high-tech gear comes high-tech risk. You aren’t just turning wrenches; you’re handling lithium-ion batteries and complex mid-drive motors. Business liability insurance could help protect your business from driveway mishaps. and tools and equipment coverage may safeguard the specialized tech and tools inside your van. Bailee coverage could also help protect you from the costs of customer property while it’s in your hands.

7. Mobile precision sharpening for knives and blades

An unexpected industry is leading the “right-to-repair” charge in 2026: mobile sharpening. And home chefs, restaurants, salons and stylists, and landscapers are reaping the ease and benefits of a sharper edge from the convenience of their driveways.

The global sharpening market is projected to reach $1.7 billion in 2026, fueled by a 6.3% growth rate. Growth is driven in part by the rising cost of tools and a broader shift toward repairing equipment instead of replacing it. While the residential market is the largest by volume, the commercial sector (restaurants, hotels, food processing) still generates steady, contract-based revenue.

Because the work involves handling expensive, razor-sharp tools on other people’s property, small mistakes can lead to costly damage or injury. Many business owners consider liability insurance to help manage risk while working on-site.

8. Small managed service providers bring IT on-site for small businesses

Small businesses rely on technology, but many are saving on IT costs by turning to managed service providers (MSPs) for ongoing, outsourced support.

The market is expanding steadily. The global managed services market was valued at over $401 billion and is growing at a rate of 9.9%, reflecting strong demand for flexible, scalable IT solutions.

For entrepreneurs, this has opened the door to a mobile, hybrid IT model. Many smaller MSPs operate as fractional IT partners, combining remote monitoring with on-site visits for setup, troubleshooting and system upgrades. This allows them to serve multiple clients and build recurring revenue through service contracts.

Because this work often involves access to client systems and office visits, many providers consider professional liability insurance or errors and omissions insurance (E&O), along with general liability and cyber liability insurance to help manage their business risk.

This story was produced by ERGO NEXT and reviewed and distributed by Stacker.

Topics:

Entertainment
Mediabistro

Mediabistro, Really?

Why we're betting on media talent right now, even in the age of AI.

mb stories
Miles icon
By Miles Jennings
@milesworks
Miles Jennings is CEO of Mediabistro and its parent CognoGroup. He previously founded and led Recruiter.com through its NASDAQ listing, executing more than 10 acquisitions over nearly a decade as CEO and COO.
5 min read • Originally published April 22, 2026 / Updated April 22, 2026
Miles icon
By Miles Jennings
@milesworks
Miles Jennings is CEO of Mediabistro and its parent CognoGroup. He previously founded and led Recruiter.com through its NASDAQ listing, executing more than 10 acquisitions over nearly a decade as CEO and COO.
5 min read • Originally published April 22, 2026 / Updated April 22, 2026

There are plenty of downsides to reviving an older brand. When I talk to people on the phone, the questions are different than you’d get for a startup.

They’re not “so, what is Mediabistro?” or “what are you doing?”

It’s usually more like a sense of shock mixed with nostalgia. “Mediabistro, really?”

“You’re back?”

Yeah, it’s back. A lot of people know it, but they know it from like a decade ago. Mediabistro was a larger company back then, and built an incredible reputation among publishers and broadcasters.

It’s always hard to distill the exact magic of what made something work in the first place. But I think it boils down to two things:

  • Great personal connections and community
  • Intense focus on a valuable niche (writers, journalists, publishers)

We’re going to continue both of those things. But we’re planning a lot more, so I thought it would make sense to explain a little bit about our plan for this year — what I want it to be.

Media is so Darn Important

The job market for media professionals has been absolutely brutal. Job opportunities for journalists, reporters, editors, graphic designers, and others have been challenged by big legacy media consolidations, and now AI — and the companies using AI as cover for the somewhat broken business models that can’t support the same headcount they used to.

But is distribution itself less important than it was a decade ago, or more important?

I think distribution is harder to achieve than ever, and media professionals who specialize in driving interest, eyeballs, and engagement will be in demand. That becomes especially clear as soon as companies wake up to the fact that they can’t achieve breakthroughs with pure AI-driven content.

AI will help get the task done — writing pieces of content or developing branded ads and presentations faster. But the goal of all these tasks is engagement and attention. In a world awash in content, does AI achieve that end goal?

It’s pretty clear it doesn’t, at least not without a lot of thought and strategy behind it.

For a few minutes in 2024-2025, I was a bit of an AI-doomer. It seemed like the “price of the written word” was quickly going to zero, and graphics and video would soon be in the same place.

But in 2026, I’m suddenly much more optimistic. We seem to be back to basics. Media companies need attention as much as ever, and there’s a welcome audience of humans who are more receptive than ever to spending real time with content. Non-media companies like tech need attention too. And with traditional methods like organic social and PPC decaying, they’ll need professionals to drive breakout ideas and unique ways to capture engagement.

That’s why we think Mediabistro can be very important. We’re aiming to be the center of media talent. And this is going to be a great market to be in.

The Community Has Expanded, and So Have We

Mediabistro did a great job inside a niche. The media industry itself — broadcasters, streamers, newspapers, magazines — has always been a focus, and we can continue there and rebuild relationships with all the leading firms.

But the profession has expanded so much beyond the media industry. It would have been unthinkable a decade ago to see tech companies buying media firms. You also wouldn’t have thought that non-media companies would employ editors, journalists, social media experts, and graphic designers in-house. But here we are.

These companies are building distribution and authority intentionally, out of a pressing business need.

Most of my data is anecdotal, but I know that certain job types are expanding — brand journalism, content managers, and others. The storytellers are having a bit of a moment, and I don’t think this is a blip. It feels like a long-term structural reality of business.

So in terms of our focus, we’re moving from an industry niche to a specialization niche. We have legacy in publishing and media companies. We’re going to expand and build an incredibly deep talent pool of all types of content specialists, for all kinds of companies. And this is a market I feel confident will continue to expand.

Jobs Are Changing, So We Will Too

Mediabistro has traditionally focused on full-time jobs, and we’ll continue to drive that. We’ve seen a lot of roles lately that are, frankly, incredible mixings of executive strategy and editorial direction. Full-time roles are expanding their functions and requirements. Companies are hiring carefully and selectively for roles that require a broad understanding of actual business, alongside editorial and engagement taste. I see this continuing and growing.

That said, project work is taking up a bigger piece of the total employment pie. Agencies have become real forces in the industry and talent magnets. And more and more individuals identify as “1099,” hopping between companies, lending their expertise to multiple clients, and learning good things along the way.

We are building project capabilities inside Mediabistro, and we’re going to do this sooner rather than later this year. I’m excited about it. More on this soon.

A lot of freelance platforms get in the middle and end up causing quite a bit of friction. Contractors feel like they’re “on the outside,” companies have to deal with separate payment systems outside of their normal payroll, and both sides lose a percentage of the margin.

That model made sense when trust between strangers online was harder to establish. But media is a relationship business, and most of the people using Mediabistro already know how to work with each other — they just need the connection.

We’re building a straightforward project system that allows for direct connection — not a payment system, but a connection system, very much like a regular full-time job application. Get out of the way, let the relationship form.

The point being: projects are coming to Mediabistro.

So, Mediabistro, really?

The answer is yes. We’re bullish on media talent, even in the age of AI. It’s a time to double down and focus, as we build back and forward.

Topics:

Mediabistro
Interviews

Monica Elias Has Spent Nearly 30 Years Thinking Like a Producer. Here’s What She Learned.

The CEO of Elias World Media has spent nearly 30 years on both sides of the camera. What she knows about storytelling, news value, and brand strategy is worth every minute of your time.

Monica Elias
Miles icon
By Miles Jennings
@milesworks
Miles Jennings is CEO of Mediabistro and its parent CognoGroup. He previously founded and led Recruiter.com through its NASDAQ listing, executing more than 10 acquisitions over nearly a decade as CEO and COO.
8 min read • Originally published April 22, 2026 / Updated April 22, 2026
Miles icon
By Miles Jennings
@milesworks
Miles Jennings is CEO of Mediabistro and its parent CognoGroup. He previously founded and led Recruiter.com through its NASDAQ listing, executing more than 10 acquisitions over nearly a decade as CEO and COO.
8 min read • Originally published April 22, 2026 / Updated April 22, 2026

Monica Elias has spent nearly three decades operating in that space where broadcast journalism and brand strategy collide. It’s where a lot of the employment opportunities seem to be heading, so we thought MB readers would be particularly interested in this one.

As CEO and Executive Producer of Elias World Media (EWM), Elias has built a company that excels in getting brands on the news. For anyone who’s tried to do this, they know – it’s actually pretty darn hard.

Her client list reads like a luxury goods hall of fame: De Beers, LVMH, L’Oréal, Richemont, Mercedes-Benz, Allergan. EWM has collected more than 20 Telly Awards, 8 Hermes Creative Awards, and 4 MarCom Awards along the way. Elias herself was named one of Luxury Roundtable’s “25 Women Leaders in Luxury to Watch” and has been featured in CBS News, Forbes, Vogue, and the New York Post.

Before launching EWM in 2013, Elias spent over a decade at Medialink Worldwide, rising to Executive Vice President. Before that, she was embedded in broadcast newsrooms, learning firsthand what makes a producer say yes, and what makes them delete the pitch without finishing it.

We sat down with her to talk about earned media, the psychology of producers, what luxury brands actually care about, and why less is almost always more.


You started in broadcast news before eventually moving to the brand side. What pulled you in that direction, and did you see it coming?

I’ve always been drawn to the world of film and broadcast news. It genuinely fascinated me. I got my start through a series of rotations and internships at various broadcast outlets, both nationally and internationally, which really shaped my foundation.

When I discovered MediaLink, it was perfect. It presented the opportunity to work with both brands and broadcasters, so I was able to tap into my love of news, storytelling, and production.

Any big break story? Like, how did you get your first client?

There wasn’t really one defining “big break” moment. For me, it was the decision to take a leap and launch my own company. When I did, many of the brands I’d been working with chose to come along with me, which frankly I wasn’t expecting, but it was incredibly flattering.

From there, the business grew pretty organically. Early on, it was all about trust, the relationships I had established, and the brand name recognition I had built, and that just continued to snowball over time. As our work continued to deliver impactful results and our approach to client service and care was of the utmost quality, our growth became fueled by word of mouth and referrals.

You spent over a decade at Medialink Worldwide before launching EWM. What did those years give you that you couldn’t have gotten any other way?

What made those experiences invaluable was that every step of the way, I had a bird’s-eye view of the entire operation. Internally, I worked with the strategy, media relations, production, live events, and metrics teams. Externally, I served as the client liaison, managing a big book of business and working with brands and PR agencies across vast sectors — from developing strategic media proposals, to formulating media programs and broadcast strategies, and managing client expectations and projects from beginning to end.

Through that process, I learned that you’re essentially servicing two clients at once: the brands and the newsrooms. Delivering what producers want while meeting client expectations is a delicate balance. We had to bring producers something genuinely newsworthy while ensuring clients’ stories were being told clearly.

Editor’s note: If you’re a journalist weighing a move to the brand side, this dual-client dynamic is worth understanding before you make the jump. Here’s what journalists should know before switching to PR.

When a broadcast producer gets a branded content pitch, what are they actually looking for in the first 30 seconds, and what gets it thrown out immediately?

Every news producer is looking for one thing and one thing only: news value. They want to know what’s in it for their viewers, what makes this newsworthy, what’s unique about it, and why it matters now. So in the first 30 seconds (even less), you need to get that across.

What gets thrown out immediately is anything overly branded and commercialized — too many verbal mentions, heavy branded visuals, or anything too polished and glossy. Visually, it has to match the quality and style of their broadcast content so it feels like a natural extension of their programming. If it doesn’t, they won’t use it.

Your placements are unpaid, which surprises a lot of people. How do you make content that a producer genuinely wants to air versus content they’re being asked to air?

Again, you have to look at it from the producer’s point of view. They want to report something timely and new. More specifically, the call to action has to have meaning and offer an incentive to their viewers, something that inspires them to take action, to make a difference, to seek help.

Broadcast news airtime is limited as is, so producers aren’t going to waste airtime on something that looks like a commercial or feels promotional.

Brands want to control the message. Producers want editorial independence. How do you navigate that tension?

Sometimes, a brand’s first instinct is to include everything about its product or company to ensure the message is fully conveyed. But in reality, less is often more.

We encourage our clients to shift their mindset — to think like a producer — and ask themselves: what is the actual news in this story? What makes their product or campaign relevant, distinct, or genuinely helpful to the viewer?

We also guide them to step into the viewer’s perspective — to momentarily remove themselves from the brand — and ask, what would I want to hear? That shift is where the most compelling storytelling begins. This exercise becomes incredibly valuable, because it prompts a rethinking of their overall strategy, communication, and marketing approach.

And naturally, there also has to be a level of trust. I have nearly 30 years of working in news and with brands, so they engage me for my experience and recommendations. I’ll often share previous success stories and take them through how it was done and show them why it worked. The proof is in the pudding. Showing examples of what has been proven to work is always more persuasive than explaining it in the abstract.

For more on building credibility in communications roles, check out 5 secrets to success in public relations.

Broadcast news has really had a rough few years with layoffs and consolidation. Has that made your job easier or harder?

It’s been both. I have a lot of empathy. You never want to see someone out of a job.

Sadly, we’ve seen stations shut down completely or cut their news programming, so that poses some challenges for us since airtime has gotten shorter, which means fewer stories are broadcast. This also continues to fuel you to create the most newsworthy content because stations have also become more selective in what they choose to air.

However, cost-cutting has also meant stations don’t have as many resources or manpower for field reporting. As a result, they’re relying more on, and have a greater appetite for, external packaged content, as long as it’s credible, newsworthy, and speaks to their viewers. So this has been an advantage for us because we’re able to supply a greater amount of content to help them supplement their programming.

If you’ve been affected by industry layoffs and are weighing your options, here’s some honest advice on bouncing back.

You work with clients like De Beers, LVMH, and L’Oréal. Do luxury brands think about earned placement differently than everyone else?

What luxury brands have always been and continue to be concerned about is the quality of the placement. What matters to them is how the story was broadcast. Did the station mention their name? How was their product featured? Was the call to action included? What percentage of the message came across? Was it featured in their target market? Did it reach the right audience?

For all our clients those factors are important, but for luxury clients especially, it’s all about quality. For them, sometimes one quality placement that checks off all the boxes is better than five placements that check off a few boxes each. We always aim to deliver quality, and we do, because we have the know-how and advantage of understanding what matters to a brand and what broadcasters are seeking.

What is the one thing most brands get completely wrong when they try to do this on their own?

Often, brand executives wear the “product hat” and tend to think more like a marketer or how best to advertise. That’s not a criticism; it’s simply where their expertise lies. They’re not necessarily thinking about “storytelling” in the news sense. They don’t understand the inner workings of a newsroom, and understandably so. That’s where brands engage me, because I’m fluent on both sides: brand strategy and broadcast news.

Curious about brand journalism as a career path? Here are 7 reasons to consider making the move.

And finally, what are you reading and watching these days?

I read all the usual industry trade and news magazines and publications, and watch local and national broadcast news. I recently discovered the podcast “Social Currency,” hosted by Sammi Cohen, and Camille Moore’s podcast, “The Art of the Brand.” Both offer fresh perspectives on branding and business.

When I have time to watch, I enjoy crime and mystery genres, and I love documentaries. I recently started watching the docuseries “The Five Families” on Netflix. Pretty sure I’ve watched every episode of Law & Order, and yet somehow, I’m always ready for “just one more.” There’s no such thing as too much Law & Order.


Monica Elias is CEO and Executive Producer of Elias World Media. You can find her on LinkedIn.

Topics:

Interviews
media-news

Streamers Are Poaching Execs and Cutting Creatives. Same Week.

Amazon raids Apple's UK team while Disney cuts Marvel veterans. The talent map reveals who's hiring and who's restructuring.

Mediabistro icon
By Mediabistro
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
5 min read • Published April 22, 2026
Mediabistro icon
By Mediabistro
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
5 min read • Published April 22, 2026

Amazon MGM Studios just recruited Oliver Jones away from Apple TV to oversee U.K. scripted commissioning. Marvel’s director of visual development, Andy Park, posted a farewell note after 16 years at Disney.

Same week, same industry, opposite trajectories. The streaming talent map is being redrawn, and the pattern is clear: executive-level recruiting continues at full speed while creative departments absorb deep cuts.

Commissioning power is concentrating at a handful of platforms with the capital to keep hiring. Studios that dominated the previous decade are restructuring around leaner production models. International expansion is accelerating, with Finland and Japan emerging as testing grounds for local-language comedy and drama.

One Hire, One Exit, Same Industry

Oliver Jones is leaving Apple TV after six years to join Amazon MGM Studios as senior commissioner for U.K. scripted, according to an internal email from Nicole Clemens, the studio’s VP and head of international originals. He’ll report directly to Clemens and work on the commissioning strategy for British scripted content.

Variety has the full details, which signal Amazon’s continued investment in U.K. production infrastructure at a moment when other platforms are pulling back.

Amazon is building out regional commissioning teams while Apple continues to centralize decision-making in Los Angeles. Jones spent six years at Apple working across international originals, so Amazon is effectively acquiring institutional knowledge about how a competitor approaches U.K. content. For professionals tracking where creative director and editorial roles are opening up, this is a useful signal: Amazon is still hiring at the executive level for regional markets, particularly in scripted.

The same week, Andy Park announced his departure from Marvel Studios after 16 years as director of visual development. Park was part of the original team that built Marvel’s visual development department in 2010, working on character design and key art for films from The Avengers through Deadpool & Wolverine.

His exit is part of Disney’s broader layoffs, which have hit production and creative roles across the studio. Park’s farewell note, reported by Variety, was gracious and unsentimental: “I couldn’t be prouder of the history we made.”

Key Takeaway: The market is aggressively recruiting commissioning executives while simultaneously cutting deep on the creative side. Disney is restructuring around fewer, bigger bets. Amazon is expanding its commissioning footprint. Both strategies are rational responses to the same economic pressure, but they produce very different hiring maps.

If you’re a mid-career creative professional, the question isn’t whether the industry is hiring. It’s which parts are hiring for what.

The Local-Language Bet Gets More Specific

Streamers are pushing money into international production with increasing precision, and two recent deals show how granular that strategy has become.

ICS Nordic, the Finland-based production company behind Blood & Sweat, hired live comedy events specialist Ilona Puttonen as Talent and Operations Executive and struck a deal with Finnish comedian Ismo Leikola for his stand-up special Ismo, Breaking Bad English.

Deadline reports the move as part of ICS Nordic’s broader push into live comedy, a format that has historically been near-impossible to export because it relies so heavily on local linguistic and cultural references.

That’s what makes the hire notable. Live comedy is the opposite of the algorithm-friendly, subtitled drama that streamers have been acquiring for years. It requires local commissioning, local talent relationships, and local production know-how. Puttonen’s role suggests ICS Nordic is betting on building that infrastructure from scratch rather than licensing finished specials.

Disney+ is making the same bet at scale in Japan. The platform struck a multi-year co-development agreement with Tokyo-based producer The Seven, owned by TBS Holdings. The deal will see Disney+ Japan and The Seven jointly developing Japanese-language live-action series exclusively for the streamer. Deadline has the partnership details, which mark Disney’s most significant production pact in Japan to date.

Both deals share the same logic: international content strategy has evolved from “acquire and subtitle” to “build local production capacity.” The ICS Nordic comedy bet and the Disney+/The Seven drama pact are structurally identical, just operating at different scales in different genres.

The next wave of streaming investment is going into regional infrastructure that can generate local hits with international upside. That buildout represents real hiring opportunities, particularly in production management and creative development.

One Monologue, Two Editorial Pipelines

While streamers quietly built out international pipelines, the loudest media moment of the week still came from a single desk in New York.

Jon Stewart opened Monday’s Daily Show with a monologue about President Donald Trump’s behavior during a bill signing for psychedelic drug treatments, joking that Trump appeared to be “on weed” based on his mannerisms. Variety covered the psychedelics angle, focusing on Stewart’s commentary about the FDA fast-tracking process.

The same episode generated separate coverage from Deadline, which focused on Stewart’s criticism of Trump’s Iran negotiation tactics, describing them as “a cycle of demands and threats and premature declarations of victory.” Deadline’s story emphasized the foreign policy commentary, treating the psychedelics material as preamble.

This isn’t a story about Jon Stewart’s comedy. It’s a case study in content mechanics.

One 20-minute monologue generated two distinct trade stories, each optimized for a different editorial angle and a different reader. Variety readers got the culture-meets-policy hook. Deadline readers got the political analysis. Both outlets built maximum value and interesting narratives from the same source material.

Content Multiplier Effect: Late-night monologues remain one of the most efficient content multipliers in media. A single segment generates clips, trade stories, social commentary, and follow-up coverage across multiple platforms. The format hasn’t changed in 30 years, but the distribution infrastructure around it has become exponentially more sophisticated.

For media professionals working in content strategy, the mechanics are instructive.

What This Means

Executive recruiting is concentrated at platforms with international expansion ambitions. Creative roles are consolidating at studios managing tighter budgets. Local-language production infrastructure is expanding in markets that weren’t on the content map five years ago.

If you’re tracking where hiring is happening: watch regional commissioning roles at Amazon, international production partnerships at Disney, and local-language content infrastructure in Northern Europe and Asia.

If you’re mid-career in creative development or production management, the international expansion bets are where the opportunities are, particularly if you have language skills or regional expertise. Browse open roles on Mediabistro to see what’s available.

For employers, the competition for senior commissioning talent is real. Platforms are poaching from each other at the executive level, which means retention matters as much as recruitment. If you’re building a team in international content or regional production, post a job on Mediabistro to reach professionals actively tracking these shifts.


This media news roundup is automatically curated (sometimes well, sometimes fairly poorly, really) to keep our community up to date on interesting happenings in the creative, media, and publishing professions. It may contain serious factual errors (but we hope not) and should be read only for general and informational purposes, another phrase meaning just for fun. Please refer to the original source of each news item for specific inquiries.

Topics:

media-news
Hot Jobs

Publishing and Policy Communications Jobs Hiring Now

W.W. Norton, the Association for Computing Machinery, and advocacy organizations are all recruiting experienced media professionals this week.

mediabistro hot jobs
Mediabistro icon
By Mediabistro
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
4 min read • Published April 22, 2026
Mediabistro icon
By Mediabistro
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
4 min read • Published April 22, 2026

Publishing Houses and Policy Groups Are Competing for the Same Talent

Independent publishing and mission-driven advocacy don’t overlap much on a Venn diagram. Yet today’s most compelling job listings share a common thread: organizations with deeply specific audiences need sophisticated communicators who can translate complexity into engagement. Whether that means selling continuing education courses to mental health professionals or shaping immigration policy narratives for national media, the skill set is remarkably similar.

What stands out across today’s featured roles is the emphasis on full-funnel thinking. These aren’t siloed positions. Each one asks candidates to own their strategy and execution, from big-picture editorial calendars to individual email sequences. That integration signals a broader shift, especially among mid-size organizations that don’t usually build (or don’t want) layers of specialists.

Three of these four roles sit outside traditional media companies, which tells its own story about where communications talent is migrating. The best opportunities for experienced editors and marketers increasingly live in organizations that need storytelling expertise applied to specialized subject matter.

Today’s Hot Jobs

Executive Editor at the Association for Computing Machinery

Why this role deserves attention: This is a rare find: a named salary range ($125K to $140K) for a hybrid editorial leadership position at the world’s largest computing society. ACM’s flagship publication, Communications of the ACM, reaches a global audience of software developers and computer scientists. The role carries full P&L responsibility and requires someone who can manage editorial, circulation, and revenue growth under one roof. If you’ve led a technology publication and want to work with a prestigious brand that still values print, this checks every box.

What they need from you:

  • Deep experience in technology publishing, particularly with the software development audience
  • Proven ability to manage editorial staff, budgets, and production schedules
  • Sales collaboration skills for developing new print and online advertising packages
  • Willingness to work onsite three days per week at ACM’s New York City headquarters

Apply to the Executive Editor position at ACM

Email and Funnel Marketing Manager at W.W. Norton

The real opportunity here: Norton’s professional books imprint wants a direct-response marketer who thinks in conversion rates, average order value, and list monetization. This is a fully remote role focused on continuing education for mental health professionals, a market that has exploded since 2020. The emphasis on long-form sales copy and launch sequences makes this feel more like a DTC brand role than traditional publishing, which is exactly what makes it interesting. Norton is the oldest independent, employee-owned publisher in the country, and this hire signals how seriously they’re investing in digital revenue channels.

Core qualifications:

  • At least five years of experience specifically in mental health marketing
  • Proven track record writing high-converting sales pages, email sequences, and promotional copy
  • Fluency in funnel metrics and the ability to defend copy strategy with data
  • Experience managing lifecycle and evergreen email campaigns that drive measurable revenue

Apply to the Email and Funnel Marketing Manager role at Norton

Public Relations Manager at the American Business Immigration Coalition

What makes this compelling: ABIC sits at the intersection of business advocacy and immigration policy, working across healthcare, agriculture, construction, hospitality, and manufacturing sectors. This remote PR role requires someone who can translate policy impact into stories that resonate with mainstream media. You’ll manage national, state, and local outreach while leading press events and strategic campaigns. For communications professionals interested in how marketing leadership roles are evolving across advocacy and policy sectors, this is a strong model of that trend. The benefits package includes unlimited PTO and a retirement plan.

Essential experience:

  • Strong media pitching and relationship-building skills across national and regional outlets
  • Ability to craft narratives linking policy impact to real-world outcomes in key economic sectors
  • Experience managing press events, conferences, and rapid-response communications
  • Comfort working across diverse audiences and coordinating with sector-focused councils

Apply to the Public Relations Manager position at ABIC

Senior Account Executive at IW Group

Why this one stands out: IW Group was named Ad Age’s 2025 Multicultural Agency of the Year, and this San Francisco-based role puts you at the center of campaigns connecting global brands with multicultural audiences. The position combines PR, marketing strategy, and community outreach with direct supervisory responsibility. At $70,000 to $85,000 annually, the compensation is transparent and competitive for agency work in the Bay Area at this level. If you’re exploring what account executive roles look like at award-winning shops, this is a strong benchmark.

Key requirements:

  • Experience leading PR and marketing accounts with a multicultural focus
  • Ability to develop campaign strategies, draft press materials, and guide creative execution
  • Comfort managing media and community outreach, including live event execution
  • Supervisory experience overseeing at least one direct report

Apply to the Senior Account Executive role at IW Group

Professional Takeaways

If you’re a mid-career communications professional feeling stuck between “pure editorial” and “pure marketing,” today’s listings offer reassurance. The most interesting roles right now are the ones that refuse to separate those functions. ACM wants an editor who understands ad revenue. Norton wants a copywriter who thinks like a growth marketer. ABIC wants a PR manager who can do rapid-response and long-term brand stewardship in the same week.

The practical move: audit your own experience for that kind of crossover. If you’ve managed both a content calendar and a campaign budget, say so prominently in your resume. Organizations hiring today aren’t looking for specialists who stay in their lane. They want communicators who understand how every piece connects.

Topics:

Hot Jobs
media-news

General Atomics to Deliver Infrared Payloads for Lockheed Martin's Space Development Agency Tracking Layer Tranche 3 Constellation Contract

By Media News
2 min read • Published April 21, 2026
By Media News
2 min read • Published April 21, 2026

SAN DIEGO, CA / ACCESS Newswire / April 21, 2026 / General Atomics Electromagnetic Systems (GA-EMS) was awarded a contract from Lockheed Martin to deliver missile warning, tracking, and defense (MWTD) payloads in support of Lockheed Martin’s Tracking Layer Tranche 3 (TRKT3) program for the Space Development Agency (SDA). The TRKT3 satellites will expand the nation’s space-based missile warning, tracking, and targeting capabilities as part of SDA’s Proliferated Warfighter Space Architecture (PWSA). GA-EMS is providing advanced sensor systems designed to support the mission.

"GA‑EMS’ infrared payloads provide the precision, sensitivity, and reliability needed to track emerging missile threats, including hypersonic systems, from space," said Scott Forney, president of GA‑EMS. "With decades of space experience and innovation along with our Tranche 2 performance to date, we are ready to deliver the advanced sensing capabilities in support of the next phase of the PWSA."

GA-EMS’ missile warning, tracking, and defense payloads incorporate on-orbit mission data processing to enhance capabilities for the warfighter. The systems integrate compact, high performance EO/IR sensor technologies designed for rapid production, high reliability, and affordability. GA-EMS continues to invest in advanced manufacturing capacity and space systems infrastructure to meet the growing demand for high reliability payload production.

The TRKT3 constellation will provide persistent global coverage and low latency missile detection and tracking for the warfighter, enabling fire control quality tracks for actionable targeting engagements. Tracking Layer Tranche 3 continues SDA’s spiral development approach, quickly fielding advanced on-orbit capabilities to strengthen the nation’s missile warning and tracking architecture.

About General Atomics Electromagnetic Systems

General Atomics Electromagnetic Systems (GA-EMS) develops innovative technologies to create breakthrough solutions supporting operational environments from undersea to space. From electromagnetic, power generation and energy storage systems and space systems and satellites, to hypersonic, missile defense, and laser weapon systems, GA-EMS offers an expanding portfolio of capabilities for defense, government, and national security customers. GA-EMS also provides commercial products and services targeting hazardous waste remediation, oil and gas, and nuclear energy industries. For further information, visit ga.com/ems.

Media Inquiries

EMS-MediaRelations@ga.com

SOURCE: General Atomics Electromagnetic Systems

Related Documents:

  • 20260421-GA-EMS-Tranche-3-Release-FINAL

View the original press release on ACCESS Newswire

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media-news
Advice From the Pros

So What Do You Do, Frank Warren, Founder, PostSecret Project?

'In a weird way, the secrets give me strength'

frank-warren-feature
By Rebecca L. Fox
17 min read • Originally published October 19, 2015 / Updated April 21, 2026
By Rebecca L. Fox
17 min read • Originally published October 19, 2015 / Updated April 21, 2026

With more than 200 million visitors over the past ten years, PostSecret’s success is the stuff of Internet marketing dreams.

And yet, founder Frank Warren has remained — some might say stubbornly — wedded to a non-remunerative model that eschews paid advertising and other profit streams in order to keep his project “pure” — the only income Warren derives is through royalties from books gathering secrets around a central theme, and fees for talks tied to the project he gives at colleges and universities.

What drives Warren to tirelessly winnow the 1,000-plus secrets mailed to him on postcards per week into the 20 he posts to the site each Sunday? “In a weird way, the secrets give me strength,” he tells us.

“Even after seeing almost a quarter of a million of them, I still feel like a kid on Christmas morning every day when I go to my mailbox.” Mediabistro spoke with Warren to get his take on topics ranging from social media’s impact on projects like his, to how Hollywood has come calling.


Name:  Frank Warren
Position: founder, PostSecret Project
Resume: accidental artist
Birthdate: March 21, 1964
Hometown: California, northern and southern
Education: B.S., UC Berkeley
Marital status: Happily
First section of the Sunday Times: (Great question) I start at the beginning, but I never go in order.
Favorite television show: Carnivale
Guilty pleasure: Texas Hold’em
Last book read: This I Believe (NPR)


What do you think accounts for the longevity of PostSecret?

I think that’s a really insightful question to begin with, because PostSecret has only been around three or four years, but in terms of the Internet and the Web, there is a longevity there. I talk to people often about how a lifespan on the Internet is different than anywhere else — you know, films, art.

In the very beginning, I tried not to define PostSecret as a hot Website because, really, there’s this pattern with that where you see a hot Website really kind of catch on fire, and people are talking about it. Then it always comes back down, and whether or not you can survive that dip is everything.

So I’ve been really fortunate with this project, and it’s grown in an incremental way but a consistent way. For three and a half years, every quarter the traffic has increased to the Web site, and I think that’s due to a few things. One is, there hasn’t been a huge pop with the project. For example, if I’d been on Oprah when the first book came out, there would have been this huge sort of excitement or attention, and then nothing.

But it’s always been like this gradual, organic growth. I think part of it is, I’ve stayed true to the concept and I haven’t kind of fallen for the pitfalls that Starbucks, for example did, where they had this great product — coffee — but then they started adding in all these other things that took away from the experience, and now they’ve had to backtrack and they’ve had that decline. I’ve never tried to leverage the content to monetize the site, so I don’t have any pop-up ads. I’ve never taken one dollar for a paid advertisement on the Web site, even though I’ve had over 140 million visitors.

And I think the community that’s built up around the project respects that, and it becomes more pure, and special, and different from other Web sites, because you don’t see ads all over this very popular blog.

So, I think little decisions I’ve made along the way to identify and protect what’s special and pure about this organic community has made it a Web site that not only has had this life, but a project that’s had a life, too, and allowed me to share the secrets in different ways besides the Web site: the books, the art exhibits.

I do a lot of traveling to college campuses and sharing the stories behind the secrets there. We’re even talking now with people in Hollywood about a longer narrative based upon the project.

Would it be some sort of fictionalization to do with the project, would it be a documentary about the project? How do you envision that?

We’re still a long ways off on the final product, but we’re talking about all those ideas. We have some documentary footage of me giving the talk on college campuses, and how sometimes that turns into college students sharing their own secrets — not anonymously, but in front of their classmates, about eating disorders and academic pressure, and abuse.

We’re also talking about fictionalizing stories behind the secrets and seeing how these stories intermingle in surprising and extraordinary ways. I think an example of that would be the movie Crash, in these subnarratives and how they intermingle. There’s also the possibility of telling my story, then showing how these other secrets and stories weave into that and weave out of it.

I think what’s given me the most hope is looking at a radio show like This American Life, and how they took their time but they were able to transfer what was special about that radio show to an interesting Showtime series that preserves that integrity. I hope to do the same thing.

You mentioned not running advertising on the site. What do you do financially to make your money so that you can support yourself and your family and the project?

I’m in a unique position, because I don’t really have any artistic training or background. I’ve been a small business owner for about 20 years, and I started my own business, Instant Information Systems, about 20 years ago. I still own it and run it as an absentee owner.

So thankfully, this project came and found me at a time in my life where financially I’m pretty set, which has allowed me to make the statements based upon this project’s integrity and what’s in the best interest of PostSecret, not based upon my own financial needs.

And really I’ve been happy to not just say no to some of the advertising that has been offered, but also to take PostSecret and kind of show that there’s this nonprofit component to it and how we raise awareness for 1-800-SUICIDE, the National Suicide Prevention Hotline. Last year we raised over $150,000 for that charity. I think that’s a strong component to the project, also.

Oh, I should add that the books have royalties, so it’s not a nonprofit organization. The books have royalties, and also there’s typically a speaking fee when I go and give a talk, so there are some revenue streams besides advertising to support the project.

You mention fundraising that you do for mental health issues. Were you an advocate for mental health prior to PostSecret, or did that come up as a result of the project and the nature of what was being shared?

A little bit of both. Suicide has always played a role in my life. I lost a family member to suicide and a very good friend to suicide. When I started PostSecret I was a volunteer on a suicide prevention hotline, actually answering the phones.

So when the project got really popular, I wanted to do something good with that popularity and with that awareness, and I knew 1-800-SUICIDE very well and the good work they did, so it was a natural match for me.

Talk about the editing process each week as you determine which secrets you’ll post.

People come to the Web site every Sunday and see, you know, 20 or so secrets, and I don’t think they understand how painstaking the process is to select them and to arrange them. I get about 1,000 a week, and from that I select 20.

I’m selecting secrets that really have a ring of authenticity to them, that express any human feeling, whether it’s humor, fear, sexuality, a shocking secret. I’m looking for anything that’s new and fresh and different. And you would think you would run out of secrets after seeing, you know, 200,000, but every day there’s surprises I pull out of the mailbox.

Once I have that selection I arrange them in a way where I try and tell a story, or I compose a song. I’m thinking of trying to hit all the notes and get a nice rhythm, and really taking people emotionally someplace different than where they were when they started [reading].

One of the criticisms I receive for the Web site is that some people find it depressing, and so I’ve tried to respond to that, too. So, at the end of the selection of secrets, usually there’s one or two that are kind of hopeful or optimistic to be a counter to some of the heavier secrets. I get a lot of those, you know, because secrets are things that we don’t want to tell our friends or family because maybe we feel embarrassed by them, or humiliated, or isolated.

So I think by their very nature most secrets are kind of heavy, so I like to lighten that also with a composition that always includes something optimistic or hopeful.

Over the years has your nose for false-seeming or inauthentic secrets grown sharper?

I see the postcards as works of art more, and so seeing them from that perspective, I see the truthfulness of the cards as having multiple layers. If you walk into a bookstore, you can find value in the nonfiction section, but maybe it’s that fictional book that really causes you to change your life. I think that’s possible with this project, too.

And it’s always surprising to get emails from people who talk about how sending in a secret was transformative for them, and how they might write something like, “When I wrote down my secret, Frank, I thought it was true. But by the time you posted it it was false.” Or just the opposite, they’ll say, “When I wrote this postcard I thought I was just pulling it out of thin air, but when I saw it in the book, I realized it was a process of me coming out to myself.”

One of the themes that occurs again and again in this project is that there are two kinds of secrets: the secrets that we hide from other people and the ones that we keep from ourselves. Sometimes, through the process of making out the secret anonymously, you’re forced to face a secret that maybe isn’t as fictitious as you would hope for or thought an hour before.

What you’re saying brings to mind the controversy right now surrounding memoirs and how authentic or veering into fiction they are.

I think it’s a complicated issue, because I think in a lot of ways artists are storytellers, and storytellers have a job, and that job is to take a story and have it reverberate with people, have it inspire people. There’s different tools you can draw upon to create that.

In some ways the memoirist is like the magician, and you go to the performance to see the show, and you know that behind the scenes things might not always appear as they do on the surface, but what it’s really about is that moment of awe, of mystery, that makes you identify with those parts in your life that are mysterious but sometimes you forget about in our everyday lives.

So I think we expect a lot from our memoirs — maybe too much — and I think that might be changing slowly. I know with PostSecret, I think of the project as being very inspirational, and I think one of the things that draws people to the books and to the Web site is that sort of raw authenticity. In so many parts of our life now the work — the art, whatever it is — it’s mitigated; whether it’s a band that goes to a record contract or a recording studio, or a film that goes to a film studio, or a book that comes to a publisher.

All that creative content at some point has to go through like a big conference table with a bunch of white guys sitting around and making decisions by demographics and marketability. And I think that lost in that sometimes is that sense of realness, like the punk rock part of it that has a real rawness. With PostSecret I think one of the things people respond to is they feel that authenticity.

People mail me their postcards, but there’s no committee, there’s no P.O. box. They just come to my home mailbox, and if I think it feels like a real secret, I’m going to put it on the Web site, whether it’s politically incorrect, offensive, involves nudity. Secrets are secrets for a reason, so I think when people see that I’m sharing these raw secrets, it really allows people to make that authenticity connection, which I think so many of us are looking for in this society right now.

Is it true that you include a secret of your own in each book?

I do, yes.

Have you ever acknowledged in any forum which ones are your own?

I don’t usually. I have talked about one of the secrets — well, yeah, one of the secrets I’ve included in the books, that’s in the first book. And a lot of my college talks are talking about — well, first of all I share stories behind the secrets in the book that I can’t do on the Web site. I show images of postcards that were censored out of the book by the publisher — the secret secrets.

And also what I do is talk a little bit about a secret I carried in my own life for most of my life, something that happened to me in elementary school. And in my talks I talk about, you know, my personal journey in facing a part of my own life that I was hiding from.

Secrets the publisher had censored out of the book: what are their criteria for that?

In general, HarperCollins has been very liberal in allowing me to share many, many of the secrets that I’ve received exactly as they appeared in my mailbox. But there are some issues that we have to be careful with. For example, if an image is copyrighted, like if somebody writes their secret on a Hallmark card, we can’t include that in the book because Hallmark could take legal action against me and the publisher.

Or if a postcard has an image of a child’s face on the postcard, obviously we don’t know if that child gave permission. So that’s another way we have to limit what we can share in the book because of issues of copyright and personal privacy.

You’ve had PostSecret open to user comments for brief periods of time. Do you anticipate doing that again for any reason?

One of the reasons I think the project has grown and developed and had this longer life is because I’ve consistently tried to experiment with it and try new things. And it doesn’t always work, but even the failures allow me to identify something special about the project that I didn’t notice before. When I did open up the blog where anyone could post a secret, I thought that was a great experiment.

For one thing, it showed people what my email looks like every week, and people got a sense of peeking [into] that. But also, it made me realize that one of the special things about the project is the nonjudgmental nature that it has. I think one of the reasons people feel comfortable sharing secrets with me is because they know they’re not going to be exploited, they’ll be treated with respect, and it’ll be nonjudgmental.

And so that’s why I discontinued the comments on the blog. Some of them were very harsh and judgmental, and I didn’t want people to feel like they couldn’t trust me with their secrets, that the place wouldn’t be safe any longer.

What about not making the archives of secrets available for people to look back at them?

I think of PostSecret in general as a collection of secrets that I share with people different ways. On the Web, I think of the secrets that I’ve shared there as being living secrets. When you go there on Sunday, you know somebody’s carrying that burden in real time, and I think that makes a certain kind of connection.

In terms of the archives of the secrets, that’s how I think of the books really: as being an archive or a testament, as telling a longer narrative about each of our lives with our secrets. And then in the museum exhibits, I think of those as showing the tangibility of the actual postcards and the number of secrets I get; hundreds of them are in those exhibits.

So, the reason I don’t have archives on the Web is because each way I share the secrets, I find emphasizes certain elements in the nature of our secrets. And I think the books do a good job of archiving them, better than the Web would.

Is there a particular medium through which you disseminate the secrets that you prefer?

Actually, when I go to speak on college campuses. That’s very gratifying, because I get to share stories behind the postcards and also hear the stories coming back to me from the students, which can be very inspiring. Also, to see them share their own secrets among themselves and really kind of leave the place feeling more warmly and with more empathy between classmates, that seems to be like a way that PostSecret is really changing lives in the real world.

I also like the art exhibits. We have freestanding Plexiglas units that hold the postcard sandwiched between Plexiglas. So I like the way that people can see both sides of the postcards, but also when people come to the exhibit, you know, you’ll be reading on one side, I’ll be reading on the other side, and we can see our faces through the glass and gauge the reactions that we’re having, almost like a silent dialogue is happening there. That can be very special, too.

You go through so many secrets, week in, week out, and a lot of them are very dark. What is it like personally and emotionally to be grappling with that on a continual basis?

I think in some ways I’ve had to become the person who can look at all those postcards everyday, because some of the details on the secrets are painful and difficult to read. But at a very deep level I have a strong connection to the project, and I think that some people come to the Web site or look at the project and it might make them feel depressed or down, but I have the opposite reaction.

In my childhood, I had some difficulties, I had some challenges, so when I see these postcards every day, it makes me feel like I’m not alone with my burden. I feel more connected to people. So in a weird way, the secrets give me strength. And even after seeing almost a quarter of a million of them, I still feel like a kid on Christmas morning every day when I go to my mailbox.

Do you ever take a vacation from PostSecret? I know you’ve had a couple of breaks here and there in the last several years, but they’ve been few and far between.

I don’t think I can really take a vacation from it, because even now, as we sit here, postcards are piling up in the mailbox at home that I’ll have to go through when I get back. So I can’t really get away from it. I can kind of postpone it, but there’s no vacation for the PostSecret guy.

Do you look at each and every postcard you receive?

Yeah, they’re all mailed to my home address. I look at every one and I keep every one. It’s a pretty singular archive of postcards.

You must be investing a lot in storage.

I think I literally have a ton of secrets on postcards.

Have you considered stopping PostSecret at any point, or when you look to the future do you anticipate bringing it to a close at any particular point?

The community continues to grow and develop, and I get more and more secrets, so I see it thriving right now. I don’t know how it’s going to end. I try to just focus on making the right decisions to protect the purity of it every day and not really have goals set for the project. I just try and follow where it’s leading me, and so far it’s been an amazing journey.

I guess there is kind of a conflict, though. I would like it to go on for a long time. At the same time I see value in just kind of stopping it before it ‘jumps the shark,’ I guess.

How does PostSecret capitalize on what online publishing affords people who don’t have any previous experience in publishing?

I’m really excited about the opportunities that are available for anybody now — students, artists, entrepreneurs — to use these new social tools, these new tools of communication that are making new kinds of conversation possible.

I think PostSecret is one example of a new conversation that brings the community together, but I think there are hundreds or thousands of others that are yet to be born. It’s just waiting for that one person to have faith and an idea, a crazy idea and make it happen. You know, an idea like PostSecret that reveals the hidden humor and beauty of art in our everyday lives that often goes unnoticed.

What’s your personal relationship with technology? Are you a techie person?

I’m not a hardcore technical geek, but I’ve always had a strong interest in the intersection of technology and culture and art.

And what’s your daily media consumption?

Well, I’m a big fan of The New York Times. Every day I check BoingBoing. I’m also on television watching The Daily Show a lot. So I guess that’d be my trifecta right there: we’ve got the Website, the newspaper, and the television that I like.

This interview has been edited for length and clarity.

Topics:

Interviews
Careers & Education

Will My Job Still Exist in 10 Years?

From taxi drivers to tax preparers, these careers face an uncertain future as AI, robotics, and automation reshape the workforce.

Will My Job Still Exist in 10 Years?
By Andrew Lisa
16 min read • Originally published October 21, 2021 / Updated April 21, 2026
By Andrew Lisa
16 min read • Originally published October 21, 2021 / Updated April 21, 2026

Jobs that might not exist in 50 years

On the surface, unemployment figures in the United States may paint a picture of resilience. In June 2025, the country added 147,000 jobs—more than expected—which brought the unemployment rate down slightly to 4.1%. Dig deeper into the data, however, and you’ll find a more concerning picture. Job growth has been restricted to certain industries, namely health care, leisure, and hospitality. Overall, experts caution, the most recent report is a weak one.

That adds to existing concerns for other industries, like tech. While 2024 was a year of heavy layoffs at companies like Google, Microsoft, and Tesla, the technology sector continues to account for a significant portion of job losses, with 2025 layoffs at Amazon, Meta, and Intel, among many others.

Although many factors can lead to layoffs, the growing prevalence of artificial intelligence may have played a significant role. The World Economic Forum’s latest Future of Jobs Report, released in February 2025, found that 41% of employers plan to cut employees because of AI. In the U.S. specifically, that figure goes up to 48% of employers. It’s no secret: Amazon CEO Andy Jassy even confirmed in a June 2025 memo that AI would shrink the company’s workforce in the coming years.

It’s not just tech industry employees who should be concerned. By 2030, activities that currently account for up to 30% of hours worked across the U.S. economy could be automated, according to a July 2023 McKinsey report on the future of work in America. This seismic shift means jobs that involve repetitive tasks, data collection, and data processing are likely to experience future losses, given the efficiency of automated systems to handle these duties. Office support, customer service, and food services are predicted to be among the roles most impacted.

Whether or not these positions become obsolete remains to be seen, but technology has long sent jobs the way of the dinosaur by automating manual tasks. In 1950, the job of elevator operator was among the 270 careers listed on the United States Census. That job title is now extinct, representing the only known instance of an entire occupation being obliterated by automation in the 50 years that followed. The next half-century may be even less forgiving.

Sophisticated software, robotics, automation, AI, and changing trends threaten the livelihoods of everyone from taxi drivers and restaurant servers to computer programmers and librarians. Many economists predict that automation, not outsourcing, will lead to the loss of more than 1.5 million jobs in America’s manufacturing sector. These technical innovations will soon render many longstanding skills and trades obsolete—and the occupational Grim Reaper will discriminate according to class.

Many of the jobs most likely to disappear are among the last well-paying jobs one can get with only a high school diploma. Low-paying, unskilled jobs with low educational entry barriers are most susceptible to automation. These are the jobs that robots will do. Manufacturing will require greater technical skills to operate and program computers. Those who lose their jobs will largely be shut out of the high-paying, highly skilled jobs that remain, many of which will go to specialists tasked with tending to and improving upon the very machines and programs that replaced the human workers.

Here, Stacker unveils the high-risk careers that will probably wilt over the next 50 years.

Taxi driver

In a 2016 op-ed for the Los Angeles Times, Steven Greenhouse, a labor and workplace reporter for the New York Times, predicted that the rise of automated cars would erase 5 million American jobs. Few are expected to be hit harder than taxi drivers, who face unemployment not only from driverless vehicles but because of ridesharing apps like Uber as well. Forbes reported on a study that suggested many cabbies would be forced to join the enemy, becoming Uber drivers themselves.

Mail sorter, letter carrier, and clerks

Forbes predicted the positions of mail sorter, letter carrier, and clerk would soon join taxi driver on the ash heap of jobs. In 2010, the combined positions employed 524,300 postal workers. As of May 2023, that has dropped to 331,600, a nearly 37% decrease.

Pilot

As early as 2016, the New York Post had already been reporting that pilots were likely to find their jobs on the chopping block, thanks to competition from robots. Autopilot features have long supported pilots in the air—in fact, pilots generally assume control of their airplanes only during takeoff and landing. Those two tasks, however, are being taught to their mechanical competitors, and it’s likely that both humans and cargo will soon be shuttled around in pilotless planes.

Bill, account collector

Few people will miss hearing from bill collectors and account agents, like the kind who call to bug you when you don’t pay up. Love them or not, USA Today offers evidence that this middle-class job is already disappearing, thanks to the rise of software and automation that can perform the same task. Another culprit: the global consolidation of overseas collection agencies.

Surveyors and mapping technicians

Although some specialized positions in the field require advanced education, most surveyors can enter this profession with only a high school diploma. That option, however, will likely soon be off the table as robotics and other technological advancements render their skills obsolete.

Parking enforcement

It’s bad enough when a robot steals your job, but a flying robot is something different altogether. That is exactly the airborne threat facing parking enforcement officers, once called “meter maids.” Drones can already deliver everything from packages to missiles with pinpoint precision. It’s likely that they’ll soon be recalibrated to observe parking offenders, and even deliver tickets.

Meter reader

If you live in a modern structure, chances are good that part of your tax bill is dedicated to paying someone to walk through your neighborhood and take readings of the outdoor utility meters. Soon, simple and cheap smart devices that are part of the mass energy storage movement will make that walk—and that job—unnecessary.

Bus driver

Job insecurity will soon be a reality for millions of drivers of all sorts, thanks largely to automation and the rise of driverless vehicles. Among the hardest and likely soonest affected will be bus drivers. Self-driving electric buses are already a reality on the streets of Switzerland.

Engine and machine assembler

Ever since Henry Ford perfected the assembly line, humans have worked alongside machines assembling sophisticated mechanical components like engines—and the human-to-machine ratio has been falling ever since. That steady drop, however, is quickly turning into an extinction-level event thanks to sophisticated automation and robotics.

Coal miner

Those touting the return of the coal industry might as well be telling unemployed Blockbuster employees that they’re going to bring back movie rental stores. According to the New York Times, engineers and coders now dominate the industry, and their skills propel the technology that does most of the actual mining. Even more, coal is a finite resource that is rapidly dwindling as the world embraces cleaner energy sources.

Switchboard operator

If you’ve ever called a business and been asked to press buttons for options, you’ve interacted with a computer doing a job that was once done by a human switchboard operator. There are still some of them left, but they’re a dying breed: Nearly one in four switchboard operator positions have disappeared since 2010.

Computer operator

Computer operators, whose job entails entering commands, dealing with error messages, and monitoring systems, are rapidly being phased out thanks to software that can do everything they can do—and then some. About one in five computer operator jobs that existed in 2014 will be gone by 2024, according to USA Today.

Prepress technician

There was a time when typesetters arranged individual letters for each page of a print publication before it went to press. Technology eliminated that job and ushered in the era of the prepress technician, who also works to ensure the integrity of printed materials before the presses start running. Thanks to sophisticated publishing software, however, the tides have turned once more and the industry is expected to forfeit half its jobs over 10 years.

Fast-food worker

Fast-food restaurants are essentially assembly lines, and just as robots are beginning to dominate the assembly lines that churn out engines, so, too, will the ones that churn out burgers and fries. Robots are already running the show at one New York City Shake Shack.

Truck driver

The Guardian recently referred to truck drivers as “the last humans left in the modern supply chain.” They’re also the last of a dying breed. The largest auto companies and the largest tech companies are pouring billions of dollars into the emerging driverless vehicle industry, and truck drivers are clearly in the crosshairs of the coming revolution.

Print binding and finishing worker

From books to newspapers to magazines, it’s no secret that the print industry is in freefall, one of the earliest victims of online content and devices like e-readers. Binders and finishers are among the last humans to physically assemble print reading materials, but their repetitive and routine jobs can, and likely soon will be done by machines.

Wrangler and herder

Horses, dogs, and people have long been charged with corraling and moving large groups of cattle, sheep, and other domestic livestock. The people and their pooches, however, are getting out of the herding and wrangling business, whether they like it or not. Drones will likely soon do the work that was once the realm of cowboys.

Referee

In 2018, the Daily Star predicted that giant leaps in artificial intelligence would lead to robots and computers muscling European soccer referees out of their jobs by 2030. That trend will likely hold true for sports—and referees—of all stripes. ESPN also reported that even the commissioner of Major League Baseball believes that flawlessly accurate computers will soon be available to replace umpires.

Florist

When buying flowers, consumers are now much more likely to turn to a website or their local grocery store instead of their local florist. The downward trend for florists is so severe, in fact, that the industry shed more than 6,000 jobs from 2010 to 2020, according to jobs website Monster.com.

Photo processor

Although it’s been a generation since the masses dropped off film to be developed at their local drug store or one-hour photo, there are actually roughly 27,000 people still employed as photo processors. They largely serve customers who need digital photos edited and printed. But as home photo printers continue to improve and mobile-based editing technology advances, the last remaining photo processors will likely be phased out.

Telemarketer

According to The Guardian, few jobs are more endangered than telemarketing, which the publication gives a 99% chance of falling victim to automation. The highly repetitive job is a perfect target for machines, but don’t worry, those machines will probably find a way to call as soon as you sit down to eat dinner, as their human predecessors have always done.

Dispatchers

From Google Maps to Uber, people have more ways than ever to bypass traditional transportation dispatchers, who are clinging to one of the least secure jobs in existence. In 50 years, it’s hard to imagine that young people will be able to comprehend a time when people had to call another person to schedule a ride.

Air traffic controller

Like lighthouse masters of old, air traffic controllers have long been beacons for pilots, helping them find their destination airport and guiding them along their way. That guidance, however, is already being replaced with automation and it likely won’t take anywhere near 50 years for person-less flight towers to become a reality.

Farm worker

Humanity will always be reliant on agriculture, but the farmworkers who for millennia have performed agricultural labor are already being replaced by the likes of automatic weeders, apple pickers, lettuce thinners, harvest drones, and vineyard pruners.

Insurance underwriter

Insurance companies are in the business of evaluating risk, and underwriters are, at least for the time being, the last line of defense in calculating that risk as it pertains to the potential for loss or profit. From life insurance to mortgage applications, computers are already instrumental in crunching the mountains of data needed to evaluate risk, and the human operators of those computers will likely go the way of the horse and buggy.

Data entry keyer

Experts predict there will still be 160,000 data entry keyers in 2026. That number, however, will represent a loss of more than one in five jobs compared to 2016. The process of manually keying information into the computers tasked with processing that information will soon be a job that doesn’t require human fingers.

Sonographer

The military invented robots capable of performing sonograms to get technology to soldiers on the battlefield without putting human sonographers at risk. Now, human sonographers are the ones who are at risk—of losing their jobs to the very robots designed to protect them, that is.

Drilling and boring machine tool setters

There are already fewer than 18,000 people left who earn a living by tending to and operating drilling and boring tools in the manufacturing industry. The once-common job is set to dwindle even further to just over 14,000 jobs by 2024, thanks to automation and artificial intelligence. That’s a loss of one in five jobs in the near future.

Restaurant servers

Although automatic, self-ordering table kiosks are already available in many restaurants, the standard protocol of verbally placing an order with a human server is still standard dining protocol. That trend, however, is likely to change as AI improves to the point where robots can act as the liaison between diners and the kitchen. Robotic servers are already waiting tables in China.

Gaming cage workers

When gamblers buy or cash in chips at casinos, the transaction is completed by a person behind bars—a gaming cage worker, that is. That trend is likely to become a thing of the past as casinos seek to eliminate human error and improve security by automating this job.

Locomotive firer

There is probably no job in America that is dying more quickly than that of the locomotive firer, the person tasked with riding trains and looking out for hazards on the track. There were only 1,200 locomotive firers left in 2016, and by 2026, it’s predicted that there will only be 300 of these endangered jobs left in existence.

Interpreter or translator

Machine translation has been in development for more than half a century, and for a long time, translators thought they were safe because computers could never learn to understand and capture the nuance of language, including accents, dialects, and secondary word meanings. Well, those computers are almost there and the machine translation industry is an $8 billion a year industry.

Purchasing agents

Companies hire purchasing agents to buy new inventory, from machines to clothing, when business is running low. Now, sophisticated inventory, tracking, ordering, and invoicing software can do that for them, which puts purchasing agents on shaky employment ground moving forward.

Bank teller

People have bypassed tellers and used ATMs for decades to make withdrawals, check balances, and deposit checks and cash. The rise of mobile banking apps have reduced the relevancy of the human teller even more. Today, branches are smaller, the technology is in the front, and what Business Insider calls the “ATM of the future” will likely consign old-fashioned tellers to the annals of history.

Cashier

Many grocery stores already have self-checkout aisles that let ambitious customers bypass clerks and ring themselves up. The role of cashier is becoming less and less necessary, thanks to the high degree of repetition the job entails. Throw in mobile apps that let you pay on your phone even while you’re in a physical store, and it becomes clear that the person behind the cash register may not have a job for much longer.

Disc jockey

The DJ booth has always been one of the most coveted spots in the nightclub. Thanks to services like iTunes and Spotify, however, many of those booths are already staffed by machines. Many venues are already asking themselves why they should pay to hire disc jockeys to spin tunes with bulky equipment when they could plug in their phones and have complete control over their own playlists.

Financial adviser

The financial industry is already being disrupted by the rise of robo-advisers, automated platforms that use sophisticated algorithms and real-time information to offer custom-tailored investment advice. All of this comes with much lower costs than hiring a professional financial adviser, whose advice is subject to both human bias and human error. AI has not yet rendered the financial adviser obsolete, but the future is here and the clock is ticking.

Jeweler

Career experts are already expecting negative job growth of more than 12% for jewelers, thanks to the dominance of online shopping over brick-and-mortar jewelry store purchases in addition to the widespread outsourcing of the occupation. Not only are jewelry stores disappearing, but fewer people are taking their jewelry to get repaired, which paints a bleak picture for the role.

Tech support

“Have you tried restarting?” “Are you sure it’s plugged in?” These painfully unhelpful questions might soon be a thing of the past for anyone who calls tech support for help with a computer on the fritz, a printer that refuses to update drivers, or just about any device with a mechanical brain. Huge numbers of tech help desk support jobs have already been exported to cheap overseas labor, and many of those are on their way to automation.

Assemblers of processors and semiconductors

As is the case with so many highly automated jobs, semiconductor and processor assemblers have robots to blame for their already-disappearing jobs. Experts predict that more than 14,000 such jobs will disappear by the end of the decade. In 50 years, it’s likely that the chips themselves won’t even still be in use, much less the people who were once paid to make them.

Typist or word processor

Your smartphone allows you to dictate and transcribe notes just by talking into its microphone. Corporations have far more sophisticated transcription technology that is already sending typists and word processors the way of the dodo bird. Nearly one in five typist positions are expected to disappear in just the next few years alone.

Tax preparers

Tax firm H&R Block developed Watson, a computer that helps with tax preparation. TurboTax assists customers with its tax bot. Computers and programs like these, however, will likely soon gobble up the jobs of the very people they were designed to assist. Although millions of people are still employed as accountants, the writing is on the wall. Machines can now analyze massive data sets and organize the results efficiently enough to make tax preparation a real possibility. After all, crunching numbers is what computers were born to do.

Loan officer

Professionals whose jobs can be automated are at the greatest risk of technology-driven extinction. According to The Guardian, only telemarketers are more susceptible to automation than loan officers, who collect and analyze applicant information and then process it for the purpose of either greenlighting or rejecting loan applications. That’s exactly the type of work most at risk of total machine takeover.

Lumberjack

Long considered the job that thoroughly embodied manliness, the work of lumberjacks is soon not likely to be done by humans at all. The world is moving away from wood, and like lumberjacks’ colleagues in the coal mines, the difficult, dangerous work of timber harvesting is now conducted largely by efficient and highly technical machines.

Watch repair technician

Like jewelers, watch repair technicians are disappearing. It’s expected that one in four jobs in the industry will be gone by the end of the decade ending in 2024. Cleaning, fixing, and tuning timepieces is a service that fewer and fewer people seek. In the future, it’s likely that robots will easily handle this delicate, precise work.

Toll taker

All the way back in 2011, NBC reported that the Florida Turnpike was eliminating the option to pay with cash and announced the layoffs of the 200 people who were paid to receive and make change for that cash. It was just one domino of many to fall. The rise of electronic toll-taking systems like E-ZPass in the 1990s quickly made the job of toll taker feel archaic. A generation later, in 2017, the last manned toll booth in South Florida closed. In 50 years, the concept of handing cash out of a car window to a person in a booth will almost certainly be a distant memory.

Librarian

Librarians don’t want to hear that their jobs are in mortal danger, but they are. Computers turned the age-old card catalog into a museum relic, and schools stopped teaching the Dewey Decimal System. Now, thanks to a bevy of book-related devices and technologies, as well as universal search tools like the all-familiar Google, librarians—and even the libraries they serve—are becoming fewer and fewer.

Computer programmer

Once listed among the most coveted white-collar jobs in the world, computer programmers wrote the codes that drove the machines that changed the world. Unfortunately, those machines are now so good at their jobs that they’ll likely soon have the ability to do the work of the very men and women who gave them life in the first place.

Flight attendant

It’s becoming clearer with every new technological update that pilots aren’t the only airborne employees facing a permanent grounding. As early as 2012, the Skybot automated bartender was already on planes helping flight attendants ferry drinks to passengers. By 2016, Pepper the robot could remember every passenger’s flight information, take requests, give information about connecting flights, and prowl the aisles while his human colleagues were required to be belted into seats. That leap happened in just four years—imagine what the next 50 will hold.

Metal and plastic mold makers

By 2024, there are projected to be 25% fewer metal and plastic mold makers compared to 2014. There will be fewer than 100,000 of these positions by then, thanks largely to automation, robotics, and technological advances like 3D printing.

Additional writing by Alizah Salario.

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