Connecting Your TV Show Concepts with the
Industry's Top Executives & Producers
Shows Discovered and Produced for Global Broadcast On Discovery Channel,
Lifetime TV, A&E, SyFy, Velocity, UKTV, and Others..
How to Create & Pitch Reality TV Show Ideas
That Sell
Reality TV programs are for the most part
unique stories, stunts, or social experiments
reflecting our world.
Now, with the
Internet connecting Producers to the rest of the
world, Reality Television has become the most viable
genre for new Writers, Creators and everyday people
with great ideas to break into the Industry.
Producers look for interesting subjects, people,
professions, and original formats to purchase and
produce as new shows. No longer can Producers be
limited by their own development team. They must
reach out to outsiders who can create and deliver
unique concepts for TV.
At the TV Writers Vault we've witnessed this
renaissance of the Hollywood system with many
producing deals landed by new concept creators, and
several projects produced and broadcast globally on
major networks. TVWritersVault.com is the television
industry's first website to bring "ideas" from
people outside the Hollywood system to production
and global broadcast, and we welcome anyone with a
unique idea for a television show to register and
submit a new project in our marketplace.
Learn how new creators have sold their Reality TV
show ideas here at the TV Writers Vault:
When you first set out to create a reality
TV show idea to pitch, you're going to propose
either a formatted concept, or a documentary style
concept.
A format has a specific structure
that takes place in each episode and provokes
dramatic or compelling competition, typically
resulting in one person winning. "Survivor", "Top
Chef", "Wipe Out", and "The Bachelor" are all
competition formats, each with a different structure
and premise. One is about survival, another is about
cooking, another is about stunts, and the other is
about romance and relationships. "Survivor" pits all
contestants against each other, with one person
voted off each week by the group as a whole. "The
Bachelor" has contestants competing for a
relationship with one or more voted off each week by
the star of the show. "Top Chef" has contestants
competing each week, with judging and eliminations
done by "Experts". Each of those series evolves and
progresses over the course of a season (an Arc).
"Wipe Out" is a straight competition series with the
fastest finisher winning the show in each episode.
The series has "self contained episodes", with new
contestants and challenges each show. This is
similar to "Fear Factor", with both shows
translating well for syndication because viewers
don't have to follow the progression of a story and
competition over multiple episodes.
A Format will be set within either a "Self
Contained" or "Arc Series".
"Self Contained" means that each
episode has a structure and story that concludes
within itself. It doesn't evolve to continue in the
next episode. Syndicators like this type of format
because they can air any block of episodes without
needing the audience to follow a longer story arc.
Some great examples of Self Contained series would
include "Fear Factor", "Extreme Makeover", "American
Pickers", "Hotel Impossible", "Wife Swap" or
"Undercover Boss". In "Undercover Boss", for
example, each episode follows a new company CEO
where he goes undercover in his or her own company,
learns how hard the job is, learns the personal
stories and struggles of the employees, discovers
fundamental problems with the business, then
ultimately reveals his or her identity to the
employees and gives them each a surprise "gift" that
relates to their personal and/or professional
challenges.
An "Arc Series" may still have
structured episodes with key moments, but overall
there will be an arc that evolves to a final
conclusion (winner, or revelation). "Survivor" is
perhaps the most popular example. In each episode
there are challenges participants face to win
immunity, along with personal conflicts and
strategies building between participants, all
leading to a vote for elimination. The episodes
progress and evolve with the participants dwindling,
and personality conflicts and tactics becoming more
intense as it concludes with one lone survivor as
winner. "The Bachelor" follows a similar format. The
structure of each episode includes following the
Bachelor on dates he's paired with, and the giving
of roses to all except the one he eliminates. This
all progress to later episodes in the season where
large format elements come into play when he goes to
meet the families of each of the final few women
he's considering. The final episode typically
involves the final two women meeting him separately,
not knowing if the other has been eliminated, and
learning if the Bachelor has chosen to pursue a life
with them. These are dramas fueled by a format with
ingredients that always entertains.
Docu-style
reality series are finding unmatched success with
Networks right now, and this is perhaps the most
viable sub-genre for new Creators to pitch and sell
as a reality TV series. Producers look for
unique "worlds" and "characters" in real life that
are entertaining and interesting to watch. This can
be a unique profession or business, an odd or funny
family, a certain lifestyle, a social club, real
people on an adventure, or any area of our lives
that may be interesting to watch. And they can be
pitched by anyone. At the TV Writers Vault, we've
had reality docu-style series ideas sold by
Housewives/Mothers, Car Salesmen, Plumbers, Tire
Salesman, Magicians, Doctors, Lawyers, Air Traffic
Controllers, Performers, Process Servers, and other
"real" people from outside the Hollywood system.
They were either the subject for the show, or they
had access to a subject for a show. None of them had
any formal training or experience as a creative
writer. They simply pitched the unique aspects and
scenarios of their proposed idea, and Producers were
able to see the entertainment value. Given the right
subject, people, and approach, the Production
Company knew they could sell a Network.
Here's one trick in helping identify potential
subjects for docu-style series- They are essentially
Sitcoms and Drama Series'. Regardless of the genre,
it is always and only about "Story". "Duck Dynasty"
could also be a great premise for a sitcom.
"Deadliest Catch" could be the premise of a great
drama series. So when you look at your world, and
the world around you, look for areas of activity and
people that generate incredible moments and stories.
And remember, its not all about drama. Humor goes a
long way in any pitch, and we've all seen the
success that an odd or funny family can find on
television.
Pitching
a reality TV idea starts with communicating a Title,
Logline, and Synopsis. This applies to all
formats of reality-based ideas. The title should hit
on what we're seeing, but may be a play on words. It
can be as simple as "The Restaurant", or clever as
"Around The World In Eighty Dates". It needs to give
a direct clue as to the subject we're watching.
Movies can have obscure or ambiguous titles, but
television is an advertisers medium that demands
quick capture of attention, so the viewer knows
generally what the show may be about. Loglines are
perhaps the most important aspect of pitching. A
logline is the short pitch that communicates the
high-concept of the show in one or two sentences.
Any Producer reading a pitch for a reality TV series
needs the logline to tell the unique premise and
agenda of the concept. Too often new writers will
create a logline that reads more like a movie
tagline, hitting on themes or general ideas. For a
TV Logline, the writer needs to be more specific
about communicating what we're actually watching.
What is the premise, and what is the plight? Keep it
simple and clear. Once you establish that your
logline tells what what the show is, then you can
refine it to read in a more clever style. Visit our
page on Creating
Loglines that Sell to learn more.
Writing a Synopsis for a reality TV show
pitch is all about communicating the unique and
important moments in the show, in a very efficient
and original manner. This is where you
establish your originality of the format and content
proposed. Communicate what we're potentially
watching, detailing the progression of story or
format beat for beat. A Reality TV Show Pitch may be
1 to 4 pages long, depending on the concept. In a
docu-style series pitch, you're pitching that
specific world, and the unique people involved. The
first paragraph should be about the main character,
their situation, and what they do. Then expand into
the details of their daily challenges, and the most
interesting events or circumstances they may
encounter. Remember, what is filmed in the series
hasn't happened yet, so you need to first talk about
what makes the subject interesting, but quickly get
into proposed scenarios and events that are likely
to unfold. You're pitching "proposed content", based
on the real activities and lives of those involved.
If you're writing a pitch for a reality TV format
(competition, elimination, or other variation), then
you're writing a very clear step-by-step overview of
how the series progresses. Often new writers will
get bogged down with paragraphs and pages of writing
that is "justifying" or "educating" the reader on
why the idea works, but in fact isn't telling us
specifically what we're seeing unfold in the show.
Example; Don't spend a page telling us about the
chemistry or conflict that contestants will face in
the relationship series you're pitching. Instead,
describe the specific moments of decision and
ultimatums that create that chemistry and conflict.
Those are the moments that captivate us, and propel
the show. Those are the moments that Producers
create and control to deliver that end result of
"chemistry" and "conflict".
Another important technical skill to keep in
mind when creating your pitch for a reality show is
to be efficient in your writing. Good
writers may also get caught up in writing too many
descriptive passages or expository writing simply
because they're good at writing, and they feel they
have to hammer a point home by describing it in more
detail and length. Here's the golden rule; If it
takes a page to describe, cut it down to a long
paragraph. If it takes a long paragraph to make the
point, cut it down to one or two sentences. When you
hit it hard and efficient, you make impact, and then
you move to the next beat in the show. This keeps
the reader engaged. Especially if a Producer reading
your pitch is already sold on the concept, they
don't want to be turned off by having to read a
lengthy section that isn't moving the story or
format forward.
When
a Production Company wants to buy your idea for a
new reality series, know what you can ask for.
We always recommend having an experienced
entertainment attorney negotiate any deal on your
behalf, but its also very important to know what to
expect, and what Production Companies may be willing
to give. Assuming you're a new Writer/Creator, and
your concept is being "Optioned" by a Production
Company who will then sell the show to a Network,
here's what to look for. You should expect some form
of Producer credit. This may be Consulting Producer,
Co-Producer, or similar. A "Created by" credit is
also appropriate as you are the original creator of
the unique concept. Often a creator will also share
such credit with certain parties at the Production
Company since they're the entity physically creating
the show. So be open to a "Co-Creator" or shared
"Created by" credit. As such, you should require a
"Per Episode Fee". This may be a percentage of the
per episode budget, or it may be a flat fee. How
much financial success you'll gain from selling a tv show idea, depends on the success
of the show.
Production Companies always hope for additional
seasons ordered, and successful ratings will equate
to bumps in fees and residual income. Another thing
to keep in mind is that a Production Company may be
successful in selling the project to multiple
countries and varying networks. Make sure your deal
applies to any network or third party broadcaster
sale, and that a different network equals a
different run of fees.
Often we're asked, "When is pitching season
for new reality shows?" The great news is
that there is no specific or limited period when
Producers secure new TV show ideas for development.
They scout year-round, every day of the week, and
even on vacations when they still have time to
review new projects. Of course there are specific
events in the industry that take place annually,
where Production Companies debut their new projects
for sale to broadcasters, but at the point of
creating and selling a reality show idea to
Producers, it is a process and period that doesn't
end. They buy projects all the time. We appreciate
the dedication and creative drive that so many of
our members have, and we look forward to assisting
all new writers in the process of creating and
pitching new reality TV shows to top Producers in
the television industry.
Can I sell a show with a written pitch, or
do I need a produced reel? Either or both.
Each is a specific and fundamental element in
developing and selling a series, but you can't
produce a proof-of-concept reel if you don't have a
clear plan, and a production company considering
your idea won't invest their time and resources if
they don't know specifically what the potential
content is that you're pitching. It all starts with
a solid written pitch that gives clear information
on the unique premise of your show, its agenda, and
potential content. This may include details about
the subject being covered, the personalities
involved, descriptions of access to people or
places, or any specific format the show would follow
in an episode or season arc. You're pitching the
potential content based on specific components that
together make an original TV show. This helps any
production company purchasing your project
understand what, why and how of producing any pilot
or presentation tape to a Network. Its also
important to know that many production companies
will pre-sell a pitch to the network with
hope of getting the Network to finance the pilot or
proof-of-concept reel.
All of the TV show pitches sold at the TV Writers
Vault were written pitches from new Creators and
Producers, but what is important to understand is
that there are many stages of development- each
capable of being the catalyst for selling the show.
Depending on what stage a person comes into the fold
will determine where their interests are. None can
deny the necessity of the other. The most important
goal is the task of setting up your TV pitch with a
production company who has the best shot at getting
a series order from a Network. At the TV Writers
Vault, we have a large spectrum of good companies,
many of them major production houses with strong
ties to major outlets. A few of the company's who've
purchased pitches via our platform include;
Fremantle Media, Fox TV Studios, Relativity TV, Buck
Productions, and others. Those companies have deep
history with many networks and the right resources
and connections to package and deliver a project to
the Networks who has confidence that they can
deliver a series at a high level of quality, on
time, and on budget.
Following was the process for each of the individuals at the TV
Writers Vault who sold their ideas and saw them
produced and broadcast globally
They wrote a great pitch
communicating the potential content we would be watching in
the series.
They signed deals with production companies based on
those proposals.
The production companies funded proof-of-concept
"sizzle reels" produced for the Network.
The production companies sold the series to major
outlets including Lifetime TV, Discovery Channel, SyFy, A&E and others.
Those networks ordered and financed production for
multiple installments of the series, which
ultimately aired globally.
The Future of
Reality Television
The creators and producers of Reality TV are people
that think "outside the box" to begin with, and many
have been vocal in explaining that the genre of
reality programming only broadens the possibilities
of various forms of hybrid shows, which we've
witnessed consistently.
There has always been an appetite for event-type
programming. And when real people are involved,
viewers will watch with the same addictive appetite
as those who are hooked on soap operas. What's more
powerful in even the highly formatted reality-based
programming with situations that are
set up and driven to deliver a result for content,
we are still watching people with real emotions in
circumstances that create real drama.
As long as we continue to be fascinated with the
human condition, and have an appetite for
entertainment, there will always be some evolving
format of a reality show. We've also seen the
evolution of documentary-style programming with hit
cable shows becoming extremely popular. The viewing
audiences' appetite for experiencing lives and
worlds they'd otherwise never know or see in their
own reality is what pulls them to these programs.
Producers are reaching out to discover real people
with fascinating lives, businesses, and families to
create and produce as new shows, and many of them
were discovered right here at the TV Writers Vault.
People are now pitching their own lives as
reality-based programs, and many are succeeding. We
feel that as long as people have passion, and a
drive to create, prosper, and pursue adventure,
there will always be original reality TV
programming.