Ownership is a very simple discussion in reality production. You can’t offer any because you usually won’t have any (sad but true!). And even if you managed to get any on paper, you would not see anything in the bank.

Ownership vs. Income: “Front-End”
Very quickly, a lot of people confuse “ownership” in a non-fiction TV project with front end payments. Wrong! Front end payments are just that, fees for service. And typically, all front end money from a network goes to whatever physical production company is going to make the show. In reality TV, even creating a show, you personally would be lucky to see any of that. That money’s for production, and if anything is left over, the production company keeps a portion. That’s why you have to produce a lot of shows to make any money on our side of town. And that’s why production companies are reluctant to share any front end payments with people who aren’t doing any of the production work or taking any of the production risk.

If you already work in reality TV, know this - the production companies you’ve worked for over the past few years? No way they own any of the shows they’ve made (okay, unless it’s Burnett or Bankable!). The network owns everything. They have all rights, worldwide, universally and in perpetuity to distribute the completed show and retain all the money from that because, well, they paid for it and, well, you signed a contract agreeing to just that.

Ownership vs. Participation: “Back-End”
What most people confuse for ownership in TV actually is “back end” payments. Again, you don’t usually OWN anything, but you get to “participate” in sharing any profits from the show. That comes from things like overseas sales, format spin-offs, ad income against re-runs, etc. (all of which still are rare in reality TV - don’t think that The Apprentice is the norm). Back end is a joke in Hollywood because no one usually sees any of that. Movies that break records with $200 million takes…often break hearts at the studio when marketing and production costs still leave them in the red! Since networks and studios usually recoup their money in the back-end, they are less than inclined to share that action with you.

Sadly, the complicated formula for back-end leaves the network infinitely free to charge expenses against any income your show ever makes then give you .01% of the balance (or whatever number you negotiate), which will pretty much always be negative. Trust me. In reality TV, sometimes nets don’t fight about giving you back end. That’s because they know they never will show a profit that warrants paying it.

Keep in mind that in non-fiction, back-end also is a production company perk, not a show creator perk. That’s something the production company can choose to share with you. Not unheard of…because everyone knows it’s often a meaningless number.

Talent Participation
If you want to offer talent 10% of your back-end, should you actually get any of it, that’s generous relationship-wise but fairly meaningless financially. The big question for your talent really is: what does s/he want to get out of this show if it sells? Is it fame and exposure? That comes from working with the network to be available for publicity 24/7. Is it revenue stream? If that’s the case, tell your talent to start creating his/her own branded back-end that s/he CONTROLS THE RIGHTS TO. That means books, speaking presentations, product lines, whatever the talent’s specialty warrants. Tell them to bring as much into the game as possible and have an instant way to distribute it if the show becomes a hit. Trust that Cesar Milan is not making most of his dough because he has a piece of the back-end of a half-hour show on “National Geographic.” He is leveraging that show into a 24-hour infomercial for his books, ranch, CDs, personal speaking engagements, etc. He’s getting a weekly salary to promote his empire!

Creative Partner Participation
For a partner, the same “big picture” applies. The money to be made on a first show is in working on that show. So if they have production credits, what they want to fight for is a staff to management position that gets them a weekly salary. If they have no credits, this is a good chance to get one - in a position that they are qualified to hold. While you and your partner are building your show-selling foundation, these gigs will pay you well until you are in a position to finally be the company producing the show - and earning that production fee. But know this, too, those first few shows your company produces…you will earn less than you were making before as a management-level staffer!

Your Big Picture
As for you, as the show creator, I recommend against getting too invested in back-end yourself. Until it’s your production company, the amount will be fairly meaningless even on a hit. Go ahead and ask for it, but your efforts right now will best be served in getting the highest title on the show you can get so you can move closer to being a show runner on the NEXT show you sell. That’s when you negotiate for your own production company either to do the show or to PARTNER with the company the network approves. Because that’s how you’ll start getting a piece of the front end, which is the only guaranteed money in reality TV.

A funny thing happened a short while ago that prompted this new post. First, I was invited to speak at an event. I replied with an enthusiastic yes (for those who have seen me, you know how I love a workshop/panel/parking lot…anywhere I can talk passionately about the biz)! Then I immediately sent the organizer my current bio, with links to more information and pictures online. The organizer was very surprised by my speed/efficiency and sent a nice thank you.

That SAME DAY, I was helping a friend of mine put together materials for an upcoming project. We already had sent three requests for a bio from one of the participants, which finally arrived a few days later, with typos. And I thought, “It’s time to talk about what you MUST bring to the table if you want to work in entertainment!” While you are hoping and/or expecting to be respected and sought after and paid for your talent, be sure that you are 100% on point in delivering what the industry expects of you.

UPDATED RESUME
Nothing is more important than a résumé that accurately reflects, at least:

• Your job titles;
• The project name;
• Your employer;
• Any production partners (e.g., choreographer, production company, director, etc.);
• Your dates of employment.

An example would be:
Principal Dancer      THE NUTCRACKER              Lompoc Ballet      Chor: Justin  12/2006
Background Dancer “LOVE MY BABY” (Baby Tee) Paramount Music Chor: Jayn J  10/2006

This really is just a credit list, so employers can instantly see not just what you have done, but FOR WHOM. Those names are the ones that will get you hired more often than your titles! If I know someone on that list, and I call them, and they rave about you, my job hunt is over.

Also include degrees, professional affiliations and awards.

Let’s talk about the format for your credit list.

• It must be ONE PAGE ONLY;
• It must include, at least, your legal name, professional name (if different), mailing address, contact number, e-mail address and Web site (if any);
• All names must, must, must be spelled correctly (check online - these could be established shows or friends of your potential employer);
• Create your list in a table (in Word, that’s Table/Create Table) with columns (skip tabs and spaces!) so you can easily line up columns, update and move things around;
• Stick to one format for each credit and make it uniform throughout the rez (e.g., if project names are in caps once, they should be in caps always);
• Include your name, professional title and year in the title of the document. That way, when you e-mail it to a potential employer, they can save the file and always know what and whose it is. So you might call it: “Rez_LeeBryant_Producer_2007.doc”

Organize one credit list by job title and another by date (most current down).

You might end up needing a more extensive rez that includes job descriptions for some submissions. But your current credit list is an absolute must for all job submissions - update it on the last day of every job.

CURRENT BIO
A bio is not a two- or three-page brag sheet. It is a one- to five-paragraph summary of what you have done and why it makes you stand out from your peers (check out About DMA for an example. Don’t re-list every job from your rez here. Summarize and sell. So your five directing credits might be presented as: “Over the past five years, Corrinne has directed several acclaimed regional and off-Broadway productions, including the Lucent Award-winning production of MacBeth at New York’s Ventana Theatre.”

If you are kind of weak in the spelling and grammar area, please send your bio to someone who is excellent at it. No typos. No grammatical errors. No syntax errors. Let it put your best foot forward for you!

Celebrate each new professional milestone by immediately updating your bio. That should be the final thing you do to signal the end of a gig. A call could come the next day, and you’ll be ready with current info.

CURRENT PHOTO
Even if you are not a performer, on many occasions, you will be asked to submit a photo with your written marketing materials for promotion, including Web sites, brochures, event programs, etc. You should have a current, accurate photo in both 8×10 print format and a small, digital file (say, 100px x 150px, 72 dpi, JPEG).

CURRENT E-MAIL ADDRESS
Hey, we work in entertainment; we’re expected to move around the world! Addresses and phone numbers change, but make sure you have an e-mail at a free service you know will be around for a while (Yahoo!, G-Mail, etc.), and use that as your permanent address (don’t rely on your current DSL or cable address; buyouts happen too often). If someone tries to reach you three years down the road off of a submission, know that they can at least find you there. If you don’t have a computer, go to the library and get online for an e-mail account. It is not an option to NOT have one.

WEB SITE
In 2007, Web presence is REQUIRED! Having a Web site markets you 24/7. Visit Planet DMA and imagine how much time it would take for me to walk every person through all of those products and services on a one-on-one basis. Web sites don’t cost a fortune, and they are worth every dime you spend, especially if you are selling your services. Visit Planet DMA Portals to see the sites we create for entertainment professionals and performances. At the very least, MySpace* is free, or you can create a blog on sites like this one (Google’s Blogger) for FREE. You want to expand your visibility in the industry? Get yourself onto the Internet.

*If you currently use MySpace as a social network, please create a second page that’s a professional site ONLY, with your pictures, video, music, credits, what-have-you. You are using this site as a selling tool; keep it clean and simple to navigate.

A CELL PHONE
I know you have one. Please remember to turn it on, carry it with you, check it regularly, and keep the message box clear so you can get messages about jobs, interviews, casting, go-sees, auditions, rehearsals and bookings. Also, take the pop songs off of your message, please, and let people get straight to hiring you! “Hi, you’ve reached Darwin Smith, please leave a message. Thank you.” Done.

Okay, that’s the minimum list. Add to that a current reel, a portfolio, spec scripts, references and more to show people who can advance your career that you are ready, able and worth every possibility they can present. Best! dma

There are 3 ways to be cast on a reality show:

• Attend a cattle call;
• Submit directly for consideration;
• Know somebody who works on the show and get walked in.

#3 is terrific, but it’s not necessary (really!). What’s more important is knowing how to NOT get on a reality show. Let’s start with sending naked photos, videos of yourself in the restroom and a truly bizarre mix of other attempts to get cast. Your personality is enough. Maybe.

Now for the Do‘s.

PICK A SHOW
If you want to be on a reality show but don’t have a specific one in mind, just surf the online casting sites for casting calls and direct submission listings! Lots of shows post casting calls every single day (to stay at the top of announcement lists). Your best bet is to start with Craig’s List in Los Angeles or New York listing. Surprise! Companies post there for national searches because they’re not allowed to do multiple posts across different city lists. Check the “Gigs/Talent” category for the most listings.

Also check the sites of your favorite networks for multiple show listings. Similarly, if you find a production company that produces a show you love, check their site for other shows. A company that produces one HGTV show could easily produce five other ones because they’re trusted by the network – and some of those other shows might be the perfect fit for you!

Your most important consideration in selecting a show to submit to is: How can this show change my life? If it can’t change your life, if you just want to be on TV, you are going to have a hard time getting cast. Your story MATTERS.

APPLY TO THE SHOW
You will have to complete an application for any show you submit to and sign a release granting the production company the right to use anything you submit in any way they wish, which is usually to promote the show itself. In many instances you may also need to send in a personal videotape for consideration.

For your reel, be sure to strictly follow any format guidelines, like duration or VHS vs. DVD format. Your ability to follow directions here is the first indication of how well you’ll manage on a set. As far as content, I always recommend turning on your “First Date” personality. That means great look, great personality, good stories and a little of your playful, naughty side if you have one (no, not NAKED. “Naughty”). Don’t try to shock or impress
or create a character. Just try to intrigue us into going out with you again!

Here are some technical tips for your shoot:

• Clothes: Don’t wear black, white, busy patterns or anything with a logo on it anywhere.
• Sound: make sure you’re in a quiet room or outdoor space (no phones, dogs, kids, traffic, etc.). We want to hear what you have to say.
• Light: don’t stand in front of a bright source of light; you’ll be backlit, and we won’t be able to see your face. If the rules allow, just go outside into natural light; otherwise, be sure that your face can be seen.
• Look: let your appearance to emphasize who you are and why it’s right for the show; it’s the easiest message to send. That could be a business suit and glasses, a gown with big hair and tiara or no make-up, a tank and shorts. Don’t wear a costume; wear your personality.

All the best with your submission, and maybe I’ll see you on set in L.A!