A stimulating and well-attended discussion on The Future of Scottish Arts Journalism took place at Codebase this week.
Organised by Creative Edinburgh and sponsored by Business Gateway, the event brought together a range of voices representing the evolving landscape of arts reporting in Scotland.
Rachel Ashenden, Art Editor of The Skinny, chaired the conversation, guiding the panel through key questions: What future remains for traditional print magazines? Are new platforms like Substack creating space for independent, diverse voices, or are they displacing established, “legacy” outlets entirely? The evening successfully united writers, editors, and cultural commentators to reflect on the challenges and opportunities facing the sector today.
What is the future for arts journalism in Scotland? Or indeed is there a future?
The Panel and the portfolio career
The line-up featured a range of perspectives, underscoring the multiple, overlapping roles common in modern arts journalism. Brian Ferguson, Arts Correspondent at The Herald, represented the “legacy media,” while Michael MacLeod of The Edinburgh Minute was one example of a shift towards “online independence”. They were joined by Arusa Qureshi (former Editor of The List and Fest Magazine), Katie Goh (freelance arts writer and Project Manager, Equal Media and Culture Centre), and Kevin Fullerton (Online News Editor of The List). The panellists’ varied careers and shifting roles manifested the sector’s evolving character.
Ferguson’s general optimism often contrasted with the more pessimistic takes of the other panellists, most of whom recounted battles with short-term contracts and poor pay. The term ‘portfolio career’ – a concept many panellists disliked but accepted as an accurate description of their working lives – was central to the discussion.
In most cases, arts journalism was just one facet of a multi-job existence, a passion they hadn’t yet been able to devote themselves to full-time. The panel agreed there are simply too many publications that either don’t pay writers – on the premise that exposure is payment enough – or pay poorly. Kevin Fullerton stressed the need to publicise and shame these outlets, noting that “many publications aren’t paying properly.”
Financial models and new opportunities
At the root of the issue is the decline in advertising revenue that has drained money from the traditional newspaper and magazine world, a trend typified by the decline of established papers. However, this decline also opens up new possibilities for financially viable models.
Ferguson outlined The Herald’s strategy of offering in-depth premium content on culture, hoping to attract subscribers. Similarly, Michael MacLeod’s Substack where he curates articles written by other journalists, was highlighted as a new model that people are prepared to pay for, allowing it to be kept “ad free” while also maintaining free access (he repeatedly promises that “it will always be ad free”). MacLeod says his venture is community-driven, sourcing content from individuals and local groups, rather than PR networks, but he also links to articles on other titles local and national. He said that the greatest joy was discovering the city’s amazing cultural range and knowing he was helping people find events and organisers attract good numbers, which sustained him through what he says are “tough, sleep-deprived” days.
A palpable passion for culture and the arts was a unifying feature among the panellists.
The publications represented suggest a continuing public demand for physical media, potentially as a counterbalance or reaction to the intensely digital world most people inhabit. The List and the Skinny stand out for maintaining a substantial presence in physical media. For both publications, their print editions offer readers aesthetically pleasing and highly accessible magazines. Distributed freely across numerous city arts venues, including Summerhall and Out of the Blue, the physical copies ensure these culture guides remain a visible and ingrained part of the local arts scene.
Upholding standards and battling diversity
The panel affirmed the need to embrace new platforms, including podcasting and social media, but also stressed the importance of maintaining professional standards. Katie Goh was adamant about the necessity of a clear distinction between journalism and the world of influencers. Curation and good editing are essential for countering “digital saturation” (as Fullerton put it) and upholding quality in a world awash with misinformation. While editors can sometimes be seen as ‘gatekeepers’ keeping some voices out, their role remains vital for maintaining high standards and ensuring arts writing stems from deep knowledge and understanding.
Brian Ferguson later spoke to Edinburgh Napier University journalism students, (he is an alumnus of the university himself) advising them that their professional training offered the best pathway into arts journalism. The University’s journalism school has just celebrated its half century. Ferguson added that even if a traditional journalistic role didn’t materialise, Edinburgh held ample opportunities in the wider cultural sector. Yet he was quick to concede that finding full-time work today was “a lot harder” than it had been at the start of his own career.
Alongside the deep precarity of arts journalism, a major concern was the persistent battle for diversity. Katie Goh talked of her efforts with the Equal Media and Culture Centre in this. While panellists acknowledged strides in racial and gender diversity, Fullerton in particular, felt the sector was still failing in terms of social class diversity. Fullerton, who is from a working-class background, noted that his pathway into culture was largely “by luck” and “osmosis,” suggesting that those from similar backgrounds are often marginalised due to a lack of existing connections. This problem is compounded by a lack of attention paid to keeping people in the sector – too many drift out, dismayed by poor pay and limited opportunities, leaving the field open to those who can afford low-paid or unpaid work. In this, Fullerton echoed critics of the Edinburgh Festival Fringe who see it as dominated by a very narrow portion of society.
Arusa Qureshi revealed she had to give up her editing roles because she “was earning under minimum wage” for the time committed. Her deep love for the arts, particularly the energy of the Fringe (including the deep joy of coming across talented prospects on the Free Fringe), remains, but her career focus has shifted to music programming. The question that ultimately hung over the event was how to better harness this clear passion and expertise into good, sustainable careers. In this the structural issues facing arts journalism are reflective of broader trends in the media and creative industries.
Lingering questions
The event highlighted a fundamental tension in Scottish arts journalism between the deep passion and expertise of its practitioners versus the increasing perilous state of the profession. While there are new digital models offering hope for financial viability and community-driven content, the consensus was that a shrinking revenue base is fuelling poor pay and reliance on the often-disliked ‘portfolio career’.
The panellists – many of whom juggled multiple roles – felt that while their desire to pursue arts writing is high, the ability to build a sustainable, full-time career is severely limited. This has a direct impact on diversity, as low-paid work often excludes those from working-class backgrounds, perpetuating an existing dominance by those who can afford to take the financial risk.
Ultimately, the stimulating discussion left attendees and panellists alike grappling with one core challenge – how to transform the evident energy and desire to see high journalistic standards into financially rewarding and accessible careers. The event made clear that while passion remains, the battle for sustainability and genuine inclusivity goes on.
Editor’s note – there does not seem to have been any discussion at the event of initiatives such as the Scottish Public Interest Journalism Institute which is currently being established.
This follows a report by a parliamentary working group set up by The Scottish Government in 2021 which recommended ways of supporting and funding a sustainable press and public interest journalism. One of the recommendations was to establish the institute which will among other roles administer grant funding. The group is chaired by Richard Walker the founding editor of The National and Joyce McMillan chair of the NUJ Freelance Branch is also a member of the steering group. Ms McMillan said at a parliamentary reception earlier this year that the report “detailed a landscape in which Scottish journalism could thrive – not just survive.” The Editor of The Edinburgh Reporter, Phyllis Stephen, is also a member of the steering committee made up of academics and journalists.
Creative Edinburgh’s next event is the 2025 Creative Edinburgh Awards Ceremony, on 14 November.
Photo by Pixabay on Pexels.com
Like Loading…
Related