| "Viewers have an insatiable appetite for witnessing and being entertained by the human experience" |
Formatted reality shows are essentially game shows,
because there is a specific structure, set rules,
and a clear winner. What makes them exciting to
watch is the fact that they
are often clever dramatic social experiments.
To
truly connect with an audience and have
entertainment value in a show, the idea needs to be
as fun to watch as it is to participate in.
Docuseries reality shows allow us to witness
life unfold for a person, family, business, or group
set within a lifestyle and circumstance that creates
entertaining and compelling content. The reason viewers tune in is
because we have an insatiable appetite for
witnessing and being entertained by the human
experience.
Be Specific in your idea, and try several approaches. Here's a typical scenario that will give you an idea of why being specific and unique is important: Ms. Network Executive gives a production company executive the inside scoop that they would love to find a show that places contestants in some sort of "fish-out-of-water scenario" and would like it to involve a family. That in itself is a generic idea, but it does send the creative mind in a specific direction. What she hopes is that you will be the one to deliver an approach to that concept that is totally unique and holds great entertainment value. They may be spending time trying to develop the concept internally, while also taking pitches from a handful of producers. Many producers will create two or three variations on the same concept. And each of those will give you a different result, a different experience as a viewer, and therefore they are considered by any executive taking stock- different shows. So don't be afraid to work on several shows within the same theme. It can only increase your chance of making a sale.
Titles are very important. They should roll off the
tongue easily, provoke conversations, and simply
tell you exactly what you're going to be watching.
The Bachelor, The Apprentice,
Gold
Rush, Wife Swap, The Biggest Loser,
America's
Got Talent, InkMasters,
Flipping Out, Blind Date,
Little People-Big World, Queer Eye For The
Straight Guy, Pawn Stars
are all good examples. Word play is always a good
way to grab attention and create curiosity. Meet the Parents,
Wife Swap, and Blind Date
are all specific to what their show is about, while
using known phrases to create titles that provoke curiosity.
Think of movies- Story is a critical
element when developing a reality-based project. When
you look at movies, look at the core concept and
story elements of the film, and a reality show just
might be staring you smack in the face. "Cannonball
Run", "Meet the Parents", "Around the World in
Eighty Dates" "The Fugitive" are all specific
examples of film concepts that have translated into
reality-based shows for television.
When pitching a docuseries it is all about the characters and the world they live in. Having video on the persons involved is great, but you'll want to clarify their roles and relationship to one another. Explain how experiencing their world is unique and compelling. Describe their plight in life, and how they handle adversity. Check out our article on creating docuseries for some deeper insight.
Formatted reality series have a very clear structure, rules, and a progression to a winner. When pitching these types of shows, keep in mind that everything needs to feed and build drama. Be it a relationship series, or competition series, it's all about creating the right components that deliver key dramatic moments. The logline will describe the unique premise and agenda for the series, and the synopsis will take us through the specific steps detailing how the show unfolds. The most important aspect of creating this type of series is to have a highly original hook that makes the show unlike anything we've seen. While the framework or subject may be derived from other popular shows, your specific hook makes everything different.
Having a "proof of concept" reel is great, but it's critical to understand that it can both help and hinder. If you're pitching a docuseries, then having video that allows the producers to see who and how the people are, their personalities, their perspectives, their world, is great. BUT if you try to have produced a "professional" reel it can quickly become overproduced and more of a turn off. Why? Because what a network or production company will fall in love with are the people, the subject, and their world. They'll have an idea of its potential content. If you attempt to present and deliver what you think that is, it can show too much and fall short, killing their confidence. It's best to simply have a two to three minute tape with main characters introducing themselves, talking about their job, family, relationships, and each other. From that, we'll get a sense of their personalities and their perception of others, giving us a clear view on the chemistry we'd be dealing with in producing a show.
Being good in a room is something born from experience and guts. Keep in mind, confidence doesn't mean being brash or overbearing. Confidence means having trust. It means having enough trust that the executive will see what you are communicating, and you can relax enough to not push right into the pitch. Have a warm greeting. Ask them about specific projects they're working on. Get a feel for what their mandate might be. Get a sense of how they view programming. All of this comes from simply having a quick chat as the meeting starts. The right moment for sharing your pitch will usually be triggered by them, and you'll be able to key on something they may have pointed out during the quick chat. Finding that common ground is a good place to start. And be ready to adjust on the fly in order to serve what you feel their needs or interests are. Have a back-up pitch! To go in with the entire meeting based on one pitch is asking for a very short and awkward meeting. What you're needing to do is have a moment with them where you connect creatively, and you both find that you're like-minded in terms of taste. That leaves the door open for future pitches. If you're lucky, they'll be inspired by one of your pitches, and will begin working out the idea with you.
In formatted and docuseries reality TV, a written
pitch treatment is the roadmap that describes to
producers what we're potentially watching in the
produced series. In a formatted reality series, it's
all about the structure and escalation of drama
leading to an end-game. Further below in article we
give a very basic outline which includes Title,
Logline, and Synopsis, but you will of course want to
include elements that are specific to the subject
and genre:
Title of Show:
Logline - [1 or 2 sentence description of your
concept. Similar to what you might see in TV Guide
or on a poster for a movie, but a bit more
descriptive of content].
Synopsis - [A detailed description of your show as we
would see it on TV. Usually 1 to 5 pages in length.
This details the "arc" of the season. It's important
to be efficient with your descriptions, yet give
enough information to provoke interest of the
reader. The golden rule: Show the reader what we are
watching.]
Here's a clear view on what is expected in terms of content for a pitch treatment in the two main styles of reality TV: The following is a simple structure (content not included) of presentation for any project, and is similar to the registration/submission form used for the Television Writers Vault. Most project outlines describing a show will be 1 to 3 pages in length
Note: There is no right way to form a TV pitch for the various reality-based and scripted genres in television. However, there are philosophies and formats that will help the buyer see more clearly what your TV show idea is, and its potential. Following are a few samples of written pitches for reality show concepts. These are very basic synopsis' written. A more developed and expansive version can be written at any point in the development process.
Title: Broadway Bound
A reality TV Docuseries for Television
Logline (short pitch):"Waiting For Guffman" meets
"American Idol". A flamboyant Broadway director and
choreographer descend on a small town, infiltrating
the local play. One performer will be taken back to
Broadway for a featured part in a real Broadway
show.
Synopsis: [content should be 3 to 7 paragraphs
outlining the content of the show as it unfolds. Be
specific and original in your execution]
In every small town, there are big dreams�
In Washbuckle, Missouri the regional theatre holds
open casting calls for their annual musical review.
Some members of the troupe have dreams of making it
to Broadway or Hollywood. Others are content in
being the star of Washbuckle, Missouri hogging what
little limelight there is year after year.
But what happens when, just one week before opening
night, a ruthless Broadway Director and
Choreographer drops into town with the agenda of
taking control of the small town production while
scouting for talent to find his �star�? It�s a
fascinating look at big dreams in small town
America. The personal stories and archetypical
characters that collide as opening night approaches.
The ego-maniacal local theatre director getting
systematically pushed aside by the big-city Broadway
director. The humorous moments as the city-slickers
struggle to tolerate the small town ways and
mentality. The infighting among potential cast
members. The panic that ensues as the cast,
choreography, and production are turned on it�s tail
at the eleventh hour. The inspiring moments that
rise to the surface amidst the chaos of opening
night�. And �the decision�. One person from the cast
will be chosen for a spot in a hit Broadway
production, a trip to Hollywood for a spot on a
soap-opera and every chance they could ever hope for
being famous?
6 Episode Season Arc:
Ep. 1 - Meet the town folk. Get to know the key
characters and the theatre group. We�ll also watch
in parallel the merciless Broadway Director in
action in New York, seeing the contrasts in both
characters. We�ll take a humorous look at the awful
auditions for the small town play. We�ll see the
announcement (or rumor) of the impending arrival of
the Broadway Director scouting for talent, and
witness the anxiety that is infused in each of our
small town characters fighting to get into the play.
Ep. 2 - In-fighting, tensions escalating, accusations,
the director starts feeling the pressure. People are
cast. Hearts are broken, hopes are sparked. They
have a first run-through with the cast. The
mysterious Broadway director in black sits in the
back. (Imagine a Simon Cowell) snapping from the
back row, �Stop! Every one of you STOP!!� He then
marches down the isle. An imposing figure. He
introduces himself and delivers the news that he has
come to find talent, and someone from this town, in
this play, will be chosen. He goes on about how he
sees nothing but problems. The play will be re-cast,
the production will stop now! (One week before
opening night). The new director and small-town director fight.
Cast members protest. New auditions are held, and
performances scrutinized. A new cast is announced,
and from that cast will come his �star�.
Ep. 3 - The pressure is on to bring it together for
opening night, we�ll cover four days of rehearsals,
as well as the personal struggles surrounding the
production. Anticipation, anxiety, resentment, hope,
adrenaline. Opening night! We see the performance
and the reactions of our Broadway director.
Cliff-hanger for his decision on who will be
Broadway bound!
Ep. 4 - Re-cap of the series, the performances, the
arguments, and finally� the decision. One of the
people that landed a role, large or small in this
little play is chosen. We share in the afterglow,
the elation, and the disappointment of others. And
sharing a dream come true for that one person
selected.
Ep. 5 - Broadway New York!! Our winner is whisked around
like a star. Taken backstage of a REAL Broadway
production, immersed in the whole lifestyle.
Meetings with Hollywood talent scouts, directors of
other productions, agents, etc.
Ep. 6 - We see our small town hero take his leap of
faith, jumping headfirst into a Broadway show. A
dream is realized.
| "They are social experiments that deliver a heightened reality of our world" |
Unique Professions or Lifestyles: One of the simplest and most successful sub-genre of reality show is the documentary style series covering unique professions or lifestyles. These stories serve the insatiable curiosity viewers have to gain insight into other peoples lives and jobs. Bravo's The Real Housewives of Orange County is a guilty-pleasure glimpse into the spoiled and faux-glamorous lives of a certain group of women in Orange County, California. Discovery Channel's Deadliest Catch takes us out on the high seas with Alaskan king crab fishermen battling giant waves and wind as they fight to pull their catch and earn a days pay. Both of these series are covered in documentary style format, so if you have a subject or idea for a reality series that fits into this style, you've got to have the actual people involved to pitch it. Repo men may have a compelling profession, but you'll need to have the stories of the actual, specific repo man that would star in the series. Again, it's not just pitching the idea, but pitching the specific person and profession that the series would be focused on.
They are social experiments that deliver a
heightened reality of our world.
Survivor, produced by Mark Burnett
Productions, is a microcosm of our society. We are
stuck living together, therefore we must get along.
Each person must strategize to win, but must do so
without creating enemies, because it is their
neighbor that votes if they can continue or if they
get kicked out. It isn�t always fair, and therein
lies the fun. In that pressure-cooker atmosphere we
see the players true character rise to the surface.
Even though the show is set up, you get real drama.
Another example: To put a group of young adults
together in the same house that are strangers,
living, working and playing creates an inherent
�soap opera� for the audience to watch. That was
Bunim/Murray Productions� �The Real World�, and it
opened up the young viewing audience to a new form
of compelling TV. Documentary-style coverage of a
set-up situation.
The Apprentice, another Mark
Burnett brainchild, has similar game elements to
that of Survivor but takes place in a different
jungle- the corporate jungle. Aspiring business
mavens must work together under the scrutinizing eye
of Donald Trump. Poor performers of the weekly
business task face Trump in his boardroom where each
week one person is fired. A marketing person will
tell you that people will tune into this show to see
Trump fire someone each week. True! But the reason
viewers find it compelling to watch is because of
the specific moments of drama that come out of
situations and challenges that face us all. As in
most dramatized pieces, it is a "heightened reality"
that makes it entertaining to watch.
A show that branded the cable network of Bravo with
a Network Hit, Queer Eye for the Straight
Guy
was a simple and entertaining formula that brought
opposite worlds together when hapless straight guys
are thrown to the mercy of five gay experts in all
that is hip and chic, in hopes of resurrecting their
lifestyle and appearance. The result of bringing
these two mismatches together.... comedy and quality
entertainment. The emotional hook in this show isn't
the obvious "comedy that ensues", but the heart
strings that the show touches when someone's life is
changed for the better. You'll notice this as the
root of any successful makeover show. It's not about
the makeup and furniture, it's about changing lives.
Another show that received great critical acclaim in
reality programming is Wife Swap on
ABC. Beyond being a "fish-out-of-water" concept, the
show is built on casting "oil and water". Husbands
and wives discover the grass ISN'T always greener
when they swap husbands or wives to experience
family life through someone else's perspective and
practices.
ABC�s hit franchise The Bachelor is
both simple in concept and execution, but what the
Producers of the show know how to do is pull drama
from specific moments of tension and anticipation.
It�s classy, it�s romantic, and again- it�s real
drama that we�re watching. And one thing that puts
it a cut above the rest is that it isn�t necessarily
a journey of breaking hearts as much as it is a
journey of two people finding true love with each
other (that hopefully lasts beyond the air-date of
the show). The show romanticizes the courting
process and we can't get enough of it.
One example of a good concept that inspired by an
event many of us can relate to was the WB reality
series, High School Reunion. A
production executive went to their high school
reunion and experienced the organic drama and issues
that are alive at any high-school reunion. That was
the nucleus of what became a prime-time reality
show. The show keyed on the characters we all know;
the beauty queen, the jock, the nerd, the bully, the
loner, the gossipers, the rockers, etc. They chose
to build the show around a ten-year reunion because
having most of the people at age 28, they�ll find a
large chasm in the career and life progress of each
person. Some will already be huge successes, some
will have taken turns for the worse, most will be
insecure and frustrated. Again, it is all built for
drama. And you can be sure that there will be humor
with revenge fantasies played out, unrequited love
rekindled, or even a grudge match between the
ex-nerd turned judo champ, and the ex-bully turned
couch potato. It is something we all relate to, and
fun to watch.
Another form of reality-based programming that came
back into play has been the hidden-camera show. The
cable hit juggernaut Impractical Jokers
is semi-scripted for direction, but improvised by
the actors involved with the "marks" that the joke
is being played out on. The concept is simple but
limitless- You have likeable and talented best
friends in a variety of set-ups, and always
delivering funny results. Unsuspecting marks
become players in what is essentially an unscripted
scene of comedy and drama.