As a development executive for a reality television production company, I get dozens of submissions every week from people who want me to consider their show ideas, and every week I throw most of those ideas straight into the garbage. The company I work for, along with most production companies and television networks in Hollywood, does not accept unsolicited submissions. Most places won’t take a pitch seriously if it isn’t coming from someone they already know or who has solid credits under their belt. Breaking in as an outsider can be difficult and daunting, but there are ways that, with a lot of hard work and creativity, Hollywood newcomers can get past the unsolicited submissions barrier and get their shows into the hands of the right people.
Work hard and bounce back from rejection
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As media jobs disappear by the thousands, some creative professionals may be thinking of diversifying their skill sets and trying to break into other arenas such as reality TV. If you’re serious about pitching a reality show, there is something you need to know before you start: There are hundreds, if not thousands, of people who are more experienced, more creative, better connected, and more qualified to sell a TV show than you are. It’s harsh, I know. I don’t say it to be discouraging, but rather as a reality check.
Think about it this way: The most successful producers in the industry spend hundreds of thousands of dollars a year on development staffs and research departments, they read ratings and trend reports, they have hit shows on the air, and despite all this, the ratio of shows they develop to what they sell is still minuscule. Jennifer Kulp is vice president of development for LMNO Productions, a longtime provider of reality and documentary TV, and also my employer. In LMNO’s case, Kulp says, “Probably one out of every 60 ideas we develop ever makes it to pilot. It’s an incredible ratio.”
Selling a reality TV show is hard — plain and simple. If you really want to make it happen, you must work hard and be prepared for rejection. Some of the biggest hits on the air, such as Survivor and Dancing With The Stars, were pitched for years before they were bought.
Find original ways to present your concept
I laugh every time someone prefaces their pitch by saying that I’ve never heard anything like it, because the chances are that I probably have. “There are no original ideas anymore,” says Kulp. “Just thousands of producers with different sensibilities who put their own spin on a concept.” In this increasingly competitive marketplace, you need so much more than just a good idea to succeed. “Ideas just aren’t enough,” Kulp continues. “Five years ago, a log line would sell a concept with a quick phone call. That is just not true anymore.” As an independent producer, you should not expect to sell a show based purely on the strength of an idea. While it’s not impossible, there are things you can do to improve the strength of your pitch and increase the odds of a development executive taking the time to look at your show.
Scout unforgettable talent
Without prior experience, a network or production company won’t have much reason to work with you, but if you bring them talent they want to be in business with, your appeal will improve dramatically. Tom Huffman, director of development at Shed Media US (formerly Ricochet, the company behind ABC’s Supernanny), says that when pitching reality, “You want to have some sort of asset attached to the project only you can secure, such as talent. If you can bring a network the next Roloff Family [from TLC’s Little People, Big World] you’ll receive your creator and/or EP [executive producer] credit and can launch the rest of your career from there.”
| “Great tape goes a long way. It’s one thing to have a great idea or a great world, but it’s another if you can show me.” |
Talent in a reality show can be anyone from a celebrity, an interesting family as Huffman discusses, a company (American Chopper, Miami Ink) or ordinary people who do extraordinary things (Deadliest Catch). There are great characters everywhere, and finding them is a great way to break into reality TV.
Prove your primetime potential with premium footage
There is no better way to convey the concept of a television show than with a short mini-pilot or “sizzle reel.” A five-minute DVD is a great way to introduce the idea of the show, present the talent in action, and to show off your vision as a producer. Joe Weinstock, director of original series at Spike TV, says that he receives an average of 20 pitches every week, and the best ones are those with a reel. “Great tape goes a long way,” Weinstock says. “It’s one thing to have a great idea or a great world, but it’s another if you can show me.” Make sure your reel is no longer than five or six minutes, because attention spans among TV professionals tend to be short.
Target your pitch to the appropriate person
Once you’re confident with your idea, talent, and tape, the next thing you should do is identify the appropriate networks your show could potentially sell to. Do this by watching TV, analyzing each network’s programming and by looking in trade journals such as The Hollywood Reporter and Variety to see what projects the networks are buying. Secondly, make a list of similar shows that are on the air and find the production companies that produce these shows. You can find the producer either in the end credits if you’re watching the show on TV or on IMDB.com. To find the people that work at these companies, find a copy of The Hollywood Creative Directory or look on subscription-based Web sites such as StudioSystem.com and CableU.tv for their contact information.
You’re more likely to talk your way into the doors of production companies than those of the networks. Even in the event that a network executive is interested in your show, they are not going to trust a first-time producer with hundreds of thousands of dollars of their development money. Because of this, my advice is to start with the development departments at the production houses.
Work the phones to snare a response
Do not waste your time with mass emails or mailers: Blind submissions via email and snail mail are passive and won’t get you anywhere. You are more likely to get a response over the phone. You may have to call multiple times or charm assistants in order to get a call back, but if you are polite and persistent, you should be able to get someone to speak to you.
Once you get in touch with the person you want to pitch, be courteous, enthusiastic, and make sure to listen to any suggestions they give you. Don’t exaggerate your experience or connections. Most people who do development have good B.S. meters. Be honest about who you are, why you chose to develop the project, and ask if they will take five minutes to hear you out or review your pitch materials.
Make your presence known at industry events
A tactic better than cold-calling is meeting people and forming relationships within the industry. Alan Moore, an agent in the reality department at the Agency for Performing Arts (APA), encourages anyone looking to break into television to start networking. Moore says, “If you don’t know anyone, the best place to get feedback and possibly get noticed is at pitch festivals.” There are various events throughout the year, most in Los Angeles, where executives from networks and production companies, agents, and managers come to hear pitches from any hopeful producer who signs up. These pitch festivals are similar to speed dating: Typically the “pitcher” gets five minutes to share their idea with the “catcher”, then, a notice is given and the pitchers change tables. This is a great way to capture the ear of industry professionals and make great business relationships.
The two largest pitch festivals are put on by the National Association of Television Program Executives (NATPE), and Fade In magazine. Both festivals consist of speakers, panel discussions, networking events, pitch coaching, and the Pitch Pits. The West Coast Documentary and Reality Conference, or WestDoc, is a new festival that advertises all the same offerings. The Junior Hollywood Radio & Television Society (JHRTS) is another group that holds various panel discussions and networking events throughout the year in Los Angeles.
Know what to negotiate for and expect a realistic payout
If you do end up selling an idea to a production company, expect to enter into an option agreement with the company for your idea. In these deals, the producer should get two to five percent of the production budget based on experience, what you bring to the table, and how badly the company wants the show. In addition, you should negotiate for a piece of the “back end” — profits generated from the show after it airs, i.e. DVD sales, merchandising, etc. Getting money upfront, known as an option fee, is unusual for greener producers, so don’t expect to get paid until the show sells to a network and goes into production. With reality budgets ranging from $100,000 an episode for low-end cable to more than $1 million for broadcast network shows, you’re looking at earning anywhere from $2,000 to $50,000 per episode of your produced reality show.
Creating and selling reality TV shows is a tough business, but in success it can be a fun and lucrative way to make a living.
Jeremiah Smith is a development executive for LMNO Productions in Los Angeles, as well as a freelance writer. He blogs at PretendYouDontCare.com.
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