For the six years he labored on “The Mentalist,” starting in 2009, Jordan Harper’s job was excess of a writing gig. He and his colleagues within the writers’ room of the weekly CBS drama have been closely concerned in manufacturing. They weighed in on costumes and props, lingered on the set, offered suggestions to actors and administrators. The job lasted most of a 12 months.

But by 2018, when he labored on “Hightown,” a drama for Starz, the enterprise of tv writing had modified considerably. The writers spent about 20 weeks cranking out scripts, at which level most of their contracts ended, leaving many to scramble for added work. The job of overseeing the filming and modifying fell largely to the showrunner, the writer-producer answerable for a collection.

“On a show like ‘The Mentalist,’ we’d all go to set,” Mr. Harper stated. “Now the other writers are cut free. Only the showrunner and possibly one other writer are kept on board.”

The separation between writing and manufacturing, more and more frequent within the streaming period, is one challenge on the coronary heart of the strike begun in May by roughly 11,500 Hollywood writers. They say the brand new method requires extra frequent job modifications, making their work much less regular, and has lowered writers’ earnings. Mr. Harper estimated that his revenue was lower than half what it was seven years in the past.

While their union, the Writers Guild of America, has sought guarantees that every present will make use of a minimal variety of writers by means of the manufacturing course of, the main studios have said such proposals are “incompatible with the creative nature of our industry.” The Alliance of Motion Picture and Television Producers, which bargains on behalf of Hollywood studios, declined to remark additional.

SAG-AFTRA, the actors’ union that went on strike final week, stated its members had additionally felt the consequences of the streaming period. While many appearing jobs had lengthy been shorter than these of writers, the union’s government director, Duncan Crabtree-Ireland, stated studios’ “extreme level of efficiency management” had led exhibits to interrupt roles into smaller chunks and compress character story strains.

But Hollywood is way from the one trade to have presided over such modifications, which replicate a longer-term sample: the fracturing of labor into “many smaller, more degraded, poorly paid jobs,” because the labor historian Jason Resnikoff has put it.

In latest a long time, the shift has affected extremely educated white-collar employees as nicely. Large legislation companies have comparatively fewer fairness companions and extra legal professionals off the usual associate monitor, in keeping with knowledge from ALM, the authorized media and intelligence firm. Universities make use of fewer tenured professors as a share of their college and extra untenured instructors. Large tech corporations rent comparatively fewer engineers, whereas elevating armies of temps and contractors to check software program, label net pages and do low-level programming.

Over time, stated Dr. Resnikoff, an assistant professor on the University of Groningen within the Netherlands, “you get this tiered work force of prestige workers and lesser workers” — fewer officers, extra grunts. The writers’ expertise exhibits how destabilizing that change might be.

The technique of breaking apart complicated jobs into easier, lower-paid duties has roots in meatpacking and manufacturing. At the flip of the twentieth century, cars have been produced largely in artisanal trend by small groups of extremely expert “all around” mechanics who helped assemble quite a lot of elements and methods — ignition, axles, transmission.

By 1914, Ford Motor had repeatedly divided and subdivided these jobs, spreading greater than 150 males throughout an unlimited meeting line. The employees usually carried out just a few easy duties again and again.

For a long time, making tv exhibits was related in some methods to the early days of automaking: A workforce of writers can be concerned in all elements of the manufacturing. Many of those that wrote scripts have been additionally on set, they usually typically helped edit and polish the present into its ultimate type.

The “all around” method had a number of advantages, writers say. Not least: It improved the standard of the present. “You can write a voice in your head, but if you don’t hear it,” stated Erica Weiss, a co-showrunner of the CBS collection “The Red Line,” “you don’t actually know if it works.”

Ms. Weiss stated having her writers on the set allowed them to transform strains after the actors’ desk learn, or rewrite a scene if it was all of the sudden moved indoors.

She and different writers and showrunners stated the system additionally taught younger writers tips on how to oversee a present — primarily grooming apprentices to change into the grasp craftspeople of their day.

But it’s more and more uncommon for writers to be on set. As in manufacturing, the job of creating tv exhibits is being damaged down into extra discrete duties.

In most streaming exhibits, the writers’ contracts expire earlier than the filming begins. And even many cable and community exhibits now search to separate writing from manufacturing.

“It was a good experience, but I didn’t get to go to set,” stated Mae Smith, a author on the ultimate season of the Showtime collection “Billions.” “There wasn’t money to pay for me to go, even for an established, seven-season show.”

Showtime didn’t reply to a request for remark. Industry analysts point out that studios have felt a rising must rein in spending amid the decline of conventional tv and stress from traders to concentrate on profitability over subscriber development.

In addition to the doable impact on a present’s high quality, this shift has affected the livelihoods of writers, who find yourself working fewer weeks a 12 months. Guild knowledge exhibits that the standard author on a community collection labored 38 weeks throughout the season that ended final 12 months, versus 24 weeks on a streaming collection — and solely 14 weeks if a present had but to obtain a go-ahead. About half of writers now work in streaming, for which nearly no unique content material was made simply over a decade in the past.

Many have seen their weekly pay dwindle as nicely. Chris Keyser, a co-chair of the Writers Guild’s negotiating committee, stated studios had historically paid writers nicely above the minimal weekly charge negotiated by the union as compensation for his or her position as producers — that’s, for making a dramatic universe, not simply finishing slim assignments.

But as studios have severed writing from manufacturing, they’ve pushed writers’ pay nearer to the weekly minimal, primarily rolling again compensation for producing. According to the guild, roughly half of writers have been paid the weekly minimal charge final 12 months — about $4,000 to $4,500 for a junior author on a present that has acquired a go-ahead and about $7,250 for a extra senior author — up from one-third in 2014.

Writers additionally obtain residual funds — a kind of royalty — when an episode they write is reused, as when it’s licensed into syndication, however say alternatives for residuals have narrowed as a result of streamers usually don’t license or promote their exhibits. The Alliance of Motion Picture and Television Producers stated in its assertion that the writers’ most up-to-date contract had elevated residual funds considerably.

(Actors obtain residuals, too, and say their pay has suffered in different methods: The streaming period creates longer gaps between seasons, throughout which common characters aren’t paid however typically can’t decide to different initiatives.)

The mixture of those modifications has upended the writing occupation. With writing jobs ending extra shortly, even established writers should search for new ones extra steadily, throwing them into competitors with their less-experienced colleagues. And as a result of extra writing jobs pay the minimal, studios have a monetary incentive to rent more-established writers over less-established ones, stopping their ascent.

“They can get a highly experienced writer for the same price or just a little more,” stated Mr. Harper, who considers himself lucky to have loved success within the trade.

Writers additionally say studios have discovered methods to restrict the period of their jobs past walling them off from manufacturing.

Many junior writers are employed for a writers’ room solely to be “rolled off” earlier than the room ends, leaving a smaller group to complete the season’s scripts, stated Bianca Sams, who has labored on exhibits together with the CBS collection “Training Day” and the CW program “Charmed.”

“If they have to pay you weekly, at a certain point it becomes expensive to keep people,” Ms. Sams stated. (The wages of junior writers are tied extra carefully to weeks of labor relatively than episodes.)

The studios have chafed at writers’ description of their work as “gig” jobs, saying that the majority are assured a sure variety of weeks or episodes, and that they obtain substantial well being and pension advantages.

But many writers worry that the long-term pattern is for studios to interrupt up their jobs into ever-smaller items which can be stitched collectively by a single showrunner — the way in which a project manager may knit collectively software program from the work of quite a lot of programmers. Some fear that ultimately writers could also be requested to easily rewrite chatbot-generated drafts.

“I think the endgame is creating material in the cheapest, most piecemeal, automated way possible,” stated Zayd Dohrn, a Writers Guild member who oversees the display and stage grasp’s diploma program at Northwestern University, “and having one layer of high-level creatives take the cheaply generated material and turn it into something.”

He added, “It’s the way coders write code — in the most drone-like way.”