Many people hope or expect to be able to sell a show with no money out of pocket.  This is possible, but you probably will not stay attached to the show or earn any money from it.  If you do not plan to give your show away gratis, here are some expenses you should anticipate.  I cannot guarantee the rates you will be charged; these are approximations only: 

 

Typical Expenses

Attorney retainer....................................................................... $500+

(initial partnership and talent option)

WGA or Copyright Registration............................................... $10-$45

Talent Reel........................................................................ $250-$1,000

(camera, lights and audio rental, crew,

catering, hard drives, editing, dubbing)

Line Producer fee................................................................ $250-$500

            (budget estimate)

Professional memberships................................................... $40-$1,000

            (local groups, Guilds)

 

Extended Expenses

Talent Styling...................................................................... $150-$750

            (hair, make-up or grooming, teeth cleaning,

            teeth whitening, dental bonding, wardrobe)

Sizzle Reel................................................................... $2500-$15,000+

Attorney fees............................................................................. $1,500

            (production company deal memo)

Attorney fees........................................................................... $5,000+

            (network contract in the absence of a

            production partnership deal memo)

 

Please do not expect to call in favors and shoestring a show sale together.  That is not a plan; it is a trap!  To be the most effective and protected in this process, you need to pay the professionals who work for you so that you determine when and how work on your show pitch gets done.

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This glossary revisits a number of industry terms and concerns that were used throughout the book.

 

"Kiss-of-Death" Phrases

Here are translations for some "kiss of death" phrases a network or production company exec may say about your show–and what you must do to fix your pitch:

 

·         It’s too derivative.  Your show resembles a popular existing show too closely, with only one differing original element.  Add an original twist in a different area of originality (see the Four Original Show Elements, p. 39)

 

·         I don’t get it or Nothing happens.  Your show, or at least your pitch, lacks a clear mission and does not establish how lives will change due to the show.

 

·         That show’s not producible.  Executing your show is too cost-prohibitive for the budget the show’s content and potential audience warrants.  Either simplify the show or glitz up the content (like adding celebrity talent).

 

·         That show isn’t castable.  You cannot realistically find enough people with the level of talent, fearlessness or sheer self-delusion your format requires to fill an entire series order.  Tone down the demands of the show or make it a special or short-order series.

 

Basic Teams of Terms

 

"Reality Players"

 

Advertisers:  The service businesses and product manufacturers who pay to advertise during and in your show.

 

Brand Integration Partner:  An advertiser who supplies goods or services to be featured in a show for free or for a fee.

 

Networks:  The corporations that distribute (air) television shows.

 

Network Executives:  Also called "net execs" or "suits" (um, not to their faces).   The President of Programming and the Executive Vice President, Vice President, Director and Manager(s) of Alternative Programming for a network.

 

Ad Sales:  The network department responsible for deriving and overseeing advertising income for the network.

 

Business Affairs:  The legal division of a network.

 

Production Companies:  Also called "production houses" or "reality houses."  The companies that physically produce reality television shows.

 

Executive Producers:  The owners of a production company and also sometimes the freelance producers who run shows for the companies (see "Show Runner")

 

Show Runner:  The Executive Producer (EP), Co-Executive Producer (Co-EP) or Supervising Producer who oversees all assets of production and network interaction for a series.  "Co-Show Runner" indicates more than one show runner shares the task of overseeing the show.

 

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"Reality Pitching Tools"

 

Pitch: a one- or two-sentence sales line establishing the mission and key elements of your show.  Sometimes called a "logline."  Also, a written or verbal presentation of your show concept.  Also, a meeting to present a show concept.

 

One-sheet:  A one- or two-page summary of what your show is about.

 

Treatment:  A five-page or longer detailed plan of what your show is about and how you will produce it.  Also called a "format."

 

Talent reel:  A 5-minute or less presentation of your talent that demonstrates their camera presence and ability to do what the show will require them to do.

 

Sizzle reel:  Also called a presentation reel.  A 5-minute or less presentation of your actual show.

 

******

 

The Five Key Pitch Elements

 

1)    The Who:  Who your host, talent and participants will be.

 

2)    The What: The mission your talent or participants will have throughout the show.

 

3)    The Conflict:  The potential internal and external challenges your participants or talent will face.

 

4)    The Change:  The potential internal and external change your participants or talent will make, and for what stakes.

 

5)    The Eye Grab:  The memorable visuals that are signature to your show.

The Four Original Show Elements

 

1)    An original setting.  A different environment that sets your show apart from others.

 

2)    An original cast or talent.  A unique talent or new, defined subset of people who participate in your show.

 

3)    An original goal or change.  A fresh mission for your show’s participants to pursue. 

 

4)    An original reward.  Something of impact that people want that reality shows have not yet offered. 

 

The Five Key Talent Characteristics

 

1)    Charisma/appeal/"it."  The passion your talent has for what they do and how they express that passion.

 

2)    Big picture.  A long-term approach to a project (as opposed to "Big Ego," a short-term approach).

 

3)    A distinctive point of view.  Your talent’s personal stamp on the way they do what they love to do.

 

4)    A fan base.  Existing and vocal clients and fans.

 

5)    Talent.  The ability to do something well and with enough passion to make others want to watch them do it.

 

 

Pledge #1:  I will read and apply the entire Show Starter™ system, without skipping any chapters, steps or exercises, before I attempt to sell my first show.

 

Pledge #2:  I will prepare a pitch and one-sheet for at least one successful reality show I have watched and then do the same for my own idea.

 

Pledge #3:  I will retain an attorney with a reality TV track record to prepare a deal memo for my partners and me and contractually attach charismatic, credentialed talent to my show.

 

Pledge #4:  I will consult with a seasoned reality TV line producer to break down and revise my treatment for a reliable episodic budget estimate.

 

Pledge #5:  I will extensively research potential networks and production partners so I only bring them pitches that fit their brand.  Before I set up a meeting, I will practice every step of my pitch, out loud, to an audience and with my talent.

 

Pledge #6:  I will obtain work in the reality industry or join a professional organization to attend and organize networking events to enhance my reality know-how with know-who.

 

Pledge #7:  I will be thoroughly prepared for every pitch meeting with a developed treatment, practiced pitch, professional talent reel and upbeat attitude.  I will follow up every pitch meeting with a sincere thank you and supporting materials for pitches the network liked.

 

Pledge #8:  I have finally sold my first show, and my attorney and I are negotiating my network deal.  I will read every sentence of the contract myself and ask my attorney to explain everything I do not yet understand.  I will know what I am getting into and, unbelievably, how I might be able to get out of it.  I am excited to sell my next show.

 

 

About the Author

 

 

For 10 years, Donna Michelle Anderson, p/k/a "DMA," has been a successful writer, producer and show runner of dozens of highly rated non-fiction television programs for such networks as CBS, UPN, Fox, Bravo, BET, History Channel, TLC, and more. She is executive producer of non-fiction and new media production company Tidal Wave TV in Los Angeles.

Since 2002, DMA also has been the director of the Movie in a Box one-day filmmaking seminars.  The seminars bring hit movie makers such as Miguel Arteta (The Good Girl) and Effie Brown (Real Women Have Curves) off of the set and into the classroom, alongside top industry vendors.  The featured screenwriting program is her "1-3-5 Story Structure Made Simple System." DMA, a former story analyst at a major Hollywood production company, has taught the popular system to students at the prestigious UCLA Extension Writing Program and colleges, film festivals, industry conferences and private clients across the country.

In 2006, DMA launched "Planet DMA," a public speaking and training experience offering practical insider tools to realizing goals inside and beyond the entertainment industry.  Her first book, "The 1-3-5 Story Structure Made Simple System: The Nine Essential Elements of a Sellable Screenplay" was published in May 2006 by Movie in a Box Books.  It was followed by Tidal Wave TV’s first broadband series, "Hollywood Calls™," an online call-in show that answers people’s questions about how to break into the biz (airing on www.planetdma.tv).  In the same year, Tidal Wave TV also formalized its Show Starter™ production services arm, to continue setting up shows for existing companies and new producers and to offer reality show seminars and training for organizations such as the Producers Guild of America, the Writers Guild of America’s and Stanford in Entertainment.

DMA is an active member of the Academy of Television Arts & Sciences, the Producers Guild of America and Mensans in Showbiz.  She graduated with honors from Stanford University.

 

Please visit the Show Starter™ Web site to take advantage of all of our "Reality Production Instruction" products and services:

 

 

 

SHOW STARTER™ Seminars offer individual and group training on how to sell and set up non-fiction shows.

 

 

SHOW STARTER™ Services let you outsource pre-production, just like you already do with post!

 

 

SHOW STARTER™ Consultations offer private, individual services for your project.

 

Buy these titles now from

Movie in a Box Books!

 

And look for these upcoming titles in the Show Starter™ Reality TV Made Simple series:
•  Ten Steps to Setting Up a Streamlined Reality TV Show   •  Ten Steps to Casting a Water-Cooler Reality TV Show   •  Ten Steps to Producing a Signature Reality TV Show   •  Ten Steps to Posting and Delivering an Airable Reality TV Show   •  Ten Steps to Mastering the New Media Maze