Do’s and Don’t’s of Reality Show Pitch Proposals

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A couple of summers ago, I judged The Hollywood Player Pitch Contest at NATPE’s PitchCon. For the past couple of years, I’ve helped TV Pitchers develop their materials and prepare for their pitches.  I thought it might be helpful to share some Do‘s and Don’t‘s of what ought to be in your proposal when pitching a script.

DO:photo credit theworldofmyimagination.blogspot.com

*   Know WHAT your show is.

Is it a half-hour or an hour show? If it’s a competition program – what kind? Elimination? Build? Talent Search? Game Show? Social Experiment?

*   Know what your FORMAT is.

This is what you are pitching in reality programming. This is your protectable asset. Break it down: what is it? You can register your treatment or outline with the WGA. Or even work up a hypothetical pilot script and copyright that proposed execution of the idea.

*   Know your milieu.

Is it Fashion? Health? Science? Foodie? Travel?

*   Know who your AUDIENCE is.

What are your likely demographics? (This is also your most obvious clue as to who your likely distributors or outlets might be).

*   Provide a snapshot of the project: a quick, orienting overview so we can get on the same page with you, frame our expectations appropriately, not be confused – and be prepped to enjoy your passion!

*   Have at least a ballpark idea of the show’s budget (or at least what’s realistic for your genre).

Remember: reality is profitable because it is cheap.

*   Have a great sizzle reel.

Thirty seconds to three minutes is ideal. But it is far better to have no sizzle reel than a cheesy one with marginal production values that could do more harm than good. If what I might imagine off your great pitch is better than what you actually got in the can? Cut your losses and leave the clips at home – no matter what it cost to shoot.

*   If you claim to have a celebrity attached: have them attached. (Even better, have DE-tachable “attachments”).

*   If your show is contingent upon specific talent, it’s not always a good idea to bring them with you into the pitch. Sometimes it is (they’re “great in the room,” sell the show better than anyone else, are real creative and business partners with you, etc.) sometimes it’s not (your talent pitches themselves, not your show or the Execs aren’t interested in them as talent but their being right there in the room inhibits the discussion of any other options).

*   If you are showing merely optional representatives of a “type” (a unique family, profession or lifestyle), then some tape of options is a better way to express the possibilities and keep the discussion open and flexible.

*   Know your precursors.

What is on the air right now that is comparable to the show you have in mind in one way or another? How is yours different? How is yours better? What elements does your idea share with successful, similar TV shows from the past? All the better if they are siblings from the network or cable channel you’re pitching to – or what they are currently competing against.

*   Have a few great product placement, sponsor, ShowRunner or Co-Pro candidates up your sleeve (even if only short list suggestions).

DON’T:

*   Oversell with superlatives. This isn’t your first born. Explain what your show could be (not the over-the-top ad copy of your wildest dreams of what the best in the business could do with a limitless budget and perfect conditions).

*   Tell them how to do their job.

*   Be derisive of the industry. If you think everything on TV right now is crap, then why do you aspire to write for it? And why would the people you’re pitching to want to work with someone who thinks their entire business and its output is beneath them? Be smart. Be respectful and courteous. Sure, be creative and passionate – just don’t be rude and offensive.

*   Over-encumber your project with a daisy chain of “attachments” that are just dead weight albatrosses.

*   Reality TV is popular because it is high concept, easy to market – and cheap to produce!

*   Think: intriguing premises populated by unique characters in fascinating, unfamiliar worlds.