How to Pitch a Reality TV Show Successfully

Unlike most scripted television, a reality series can begin with the cast. Before there is even an idea of what the show could be, a producer may discover a larger-than-life family or personality, so magnetic, they simply must be on TV. Think of the Kardashians or the Earle family. A show is created around them, and primarily follows what they do day-to-day with little structure until the episode is edited.

Often, these personalities are accompanied by some sort of aspirational life set in an exciting locale (ie. Selling Sunset or The Real Housewives of New York).

Or, a reality series can have more structure, like a competition series. With this format, there are clear act and episode breakdowns. These structures, along with gameplay, sample challenges, elimination mechanics, and potential turns are what is pitched to network and studio executives. In this scenario, the casting process will come later.

TV can be a copycat industry. When a show is a hit, a half-dozen other shows will pop up to try and tap into that audience. While that approach can help inspire ideas, it’s important to ensure a concept differentiates itself from what’s on TV. That can even be directly addressed in the pitch. For example, “Our show is like that hit show everyone is talking about. This is why it won’t just capture the same audience, but build on it.”

A primary consideration when you pitch a reality TV show is to make sure it can run for multiple seasons. A common phrase heard around this topic is, “Does the show have legs?” Meaning, will it run for a long time. To take this idea one step further, is this concept highly repeatable? Will it be possible to sell this format in foreign markets? For example, a show like The Masked Singer originated in South Korea before it was a hit with American audiences.

Dive further into what networks and streamers expect when you pitch a reality TV show by watching this interview with producer Troy DeVolld.

Once the idea is formed to pitch a reality TV show, how do you prepare to pitch a reality TV show for network executives?

The first step is to write up a treatment or one-sheet which covers the overall scope of the show on one page. This will include the logline, an overview of the format, a brief description of the cast concepts and tone of the show.

A reality series logline shouldn’t differ too much in structure from a scripted series logline. It still needs to include the following: who, what they want, what stands in their way, and setting. And, most importantly, it needs to be exciting! You want the reader to lean in and want to hear more after reading the logline.

Once the show has been introduced, the producer may want to display what an episode might look like. For more docu-follow and docu-series shows, the sample episode will probably not be included in the one-sheet, and be held off until the pitch deck. For structured reality series, however, breaking down a sample episode will help articulate the show’s structure. An episode breakdown will walk the reader through the show’s progression beat by beat.

Tone is also a critical element to communicate in the one-sheet. Is it a fun competition show, a gritty true-crime docuseries, or a sexy dating show set in a villa somewhere in the Bahamas? The feeling a viewer gets when watching an episode should be conveyed in the one-sheet. This can be accomplished through comparison, “Our show is like Perfect Match but with the gameplay elements of The Traitors.”

It should also be accomplished through the written word on the one-sheet. A one-sheet should be written in the show’s voice. When reading it, the writing should conjure the same tone intended in the series that is being pitched.

Anatomy of a reality TV one sheet - Pitch a reality TV show

What really helps articulate how to pitch a reality TV show is the pitch deck. This is essential before you pitch a reality TV show. Unlike the one-sheet, the pitch deck is designed to take an in-depth look of what the series can look and feel like.

The pitch deck should start out with the logline and summary explaining what the show is, similar to the one-sheet.

From there, the deck should spend at least a page on each of the show’s elements: cast, structure, look and feel, locations, episode samples, challenge samples (if it’s a competition series), and a page about the producers making the project.

To articulate the look and feel of the show, the pitch deck should be designed to its theme. Photos from similar shows or images that help elevate the pitch need to be included. It’s also very important to find a style of the deck and maintain that style throughout. Cohesion in a deck is key so as not to make the deck a mess of images and styles. Executives producers with decision-making powers will more than likely skim the deck first. If its visuals are captivating they’ll lean in and want more. If the deck’s design seems like a mess, it creates an unnecessary disadvantage for the pitch before the logline is read.

A sizzle reel is also helpful when pitching a series. For competition series, it can be a helpful trailer before the pitch to generate excitement. But a pitch deck is still needed to break down what the series can be.

Oftentimes, a sizzle for reality TV is best utilized when the cast is already assembled. If a producer has found a great personality or they found the next real estate agent who runs a company selling mansions in Malibu, then executives will want to see what that person is like on camera. This tends to be less of a sizzle and more of a presentation. It’s almost like a sample episode, but shorter.

It is shot and edited with a limited budget, and features interviews with the cast, much like a reality series on the air. A sizzle or presentation featuring a pre-assembled cast can go a long way toward getting the green light. It can truly be essential for how to pitch a reality TV show.

Once the deck is ready and the pitch is perfected, now it’s time to find the right home. In other words, where is the best place to pitch a reality TV show you believe in?

It’s critical for a producer to do their research. They should know the landscape of reality TV. Not only should they know what is out there, but who is making and releasing those shows. What type of reality shows is Netflix known for vs. what shows are successful on Bravo? With this information, the producer can take a targeted approach when presenting to networks and streamers.

The first and best way to gain access to those studios, networks, and streamers is by having an agent. Most companies have a policy to not read any unsolicited material. Meaning a person can’t send in their pitch deck or sizzle and have it reviewed by executives. It opens those companies up to lawsuits should they so happen to someday create a show that has any similarity to the idea emailed to them two years prior.

Representation allows an agent or manager to utilize their relationships with executives to set pitch meetings. Much like agents and managers who represent writers and directors in scripted television, they also represent producers in unscripted television.

Now, it isn’t always necessary to have an agent in order to pitch a project if that producer has established relationships with executives and producers. In order to form these relationships, a producer should be networking. They should be reaching out to lower-level execs on the rise who are also looking to grow their networks. Setting general meetings to get to know the exec and understand what their company is looking for is a great starting point.

More often than not, the executive might ask the producer in the general meeting what ideas that producer has. The producer needs to be ready to give a quick pitch for their idea, or ideas, right there and then. If there is interest, the exec may want to set a proper pitch at another time. A producer has to be ready to quickly pitch a reality TV show, and preferably have more than one idea to pitch in a general meeting.

If a producer with an idea is unrepped, they can partner with a reputable production company before taking the pitch out to network executives. It’s important to note that most production companies will not take unsolicited pitches, so, again, building off of relationships is key to getting these meetings and setting up these pitches.

Pitching to production companies is no different than pitching to a network, but collaboration is key. The production company may have a better sense of what the networks are looking for, and could have guidance to tailor the idea to fit certain network slates.

If a producer is unwilling to compromise and work with a production company, the relationship will more than likely fail. It’s important for a producer to hold firm to their vision and what gets them excited about the project while also maintaining malleability. This is the best mindset when you pitch a reality TV show.

Once a producer is in the pitch room, the most important thing is to relax. It can be an intimidating experience to sit (or zoom) across from executives who are waiting to hear you pitch a reality TV show. People in the room will feed off the pitcher’s energy. If the presenter is nervous, unsure, stumbling, or too lethargic, the room can be lost even before the pitch begins.

Another reason to be relaxed is that no one will know the idea better than the person pitching it. They should be ready to answer every question, know how to telescope in and out of the pitch, and read the room to gauge when it’s time to move on to the next topic or dive deeper into the topic being discussed.

Preparation is the key to any successful endeavor, especially when pitching, but a producer also needs to be prepared to go off script, to jump ahead, and answer questions as they come up. During a pitch, it’s very helpful to state at the top to interrupt with any questions. Questions from the execs across the table often mean they are engaged, so the producer pitching the idea should be ready to pivot at a moment’s notice to maintain that engagement.

As for the pitch itself, the producer should walk through the same structure laid out in the pitch deck. They should start with the world, what makes this idea so exciting, what void does this idea fill? Then they should dive into the details: the world, the cast, the turns, how the show will continue, why it’s a repeatable format, why the drama will be high, why people will want to tune in and stay tuned.

If there is a quick sizzle, the producer should consider playing the sizzle in the room to pique the interest right at the start. If there’s a deck, they should click through the deck and present as they walk through the pitch.

Two important notes here: 1, a producer should not read directly out of the pitch deck. That can be a death knell for a pitch. 2, if the presentation is in-person, it’s important to let the execs know what is being presented, so the proper set-up is there when the producer arrives at the pitch.

How to pitch a reality show - Pitch a reality TV show

When it comes to a producer protecting their ideas, having representation will go a long way in keeping the idea safe and being able to trace the idea’s origin back to its creator. You don't want to pitch a reality TV show that gets stolen.

According to veteran producer Scott Manville, under intellectual property law, stock ideas are not copyrightable. So if a producer once brought up the basic idea of a show where a group of people compete on an island to CBS executives, that producer could not try to sue CBS for making Survivor.

Manville goes on to state that, “Having a very specific and unique expression of your pitch in a written form- developed beyond being a ‘stock idea’ is what gives you copyright protection.”

So, the more detailed a pitch, and the more that detailed pitch is written down in dated documents, the better the chance becomes of protecting that pitch down the line. When trying to copyright an idea so you can use it to pitch a reality TV show, it’s always important to consult with a lawyer to ensure all of the proper steps are taken.