I went into media in the 1980's, one of the few avenues in which a composer can make a sustained living outside of academia. Then the competition was stiff but one had to be at least a part way decent musician to even get a chance at playing the game. These days with DAWS, any kid in their bedroom has a shot at making a career for themselves in media by simply moving blocks of digital sound around on their computer screen and publishing their tracks online. The upside of this is that many more people get to express themselves. The downsides to this are that music has been cheapened creatively and financially because of the democratisation on creativity and how easy it is to seemingly achieve it musically. The sheer volume of (free) music on the internet that has resulted from aspiring DAW composers wanting validation and work, plus the lack of any real aesthetic discernment (but plenty of monetary discernment), on behalf of duplicitous producers in particular and directors who have grown up with the ubiquity of music online, has created a business model that rarely favours the composer.I think the realities of life now are against composers. Unless you are wealthy enough to support you and yours, and also to put plenty of money into support of your career, even your chances of getting to the starting line are poor. I'm amazed that some people find it possible to be a composer, but they do.
So, even a career in media is now so unlikely to succeed and has so many deleterious practices stacked against it that one could consider it effectively a non-starter unless one is prepared to endure much hardship and stress, assuming the absence of sheer good fortune.
And yet, as you say Roger, some are still prepared to go for it and that conviction is the bare minimum qualification required to enter the ring.