As a producer, development executive, or anyone involved in television, it’s fairly certain that you have a passion for storytelling. Television programming is one of the most brilliant and accessible forms of communication available and it continues to serve as a way to touch people’s hearts and reach into their lives.

But with the emergence of more and more niche networks, and the constant shifting of ownerships and executives, it is becoming increasingly harder for independent producers to develop a show that is not only going to stir people emotionally, but appeal to executives as well. So producers are now tasked with having to create the next big hit, the newest innovative format, and uncovering characters no one has seen before.

Sure, no problem.

Though developing the next hit show is truly no easy task, there are several aspects to consider that will give your show the strongest possibility of getting sold to cable network.

THINK NEW SPIN ON AN OLD TOPIC

If there’s a subject that’s worked well in the past for a network, there’s no reason why that same topic wouldn’t be just as successful again. Something that CableU has heard nearly across the board from all cable networks, despite the network’s particular niche/genre, is that they are looking for “classic topics with new approaches.”

If you take a careful look at what has been successful in 2008 on non-fiction cable networks, it is, in essence, the very same thing that has been successful in the past. The Discovery Channel recently announced a new documentary special on the Giant Squid. A search using the CableU search feature quickly returns 21 results on the topic – this has obviously been covered before by a variety of networks, including by Discovery itself. But armed with a new team based out of New Zealand, and the largest known specimen of a colossal squid, as the new pitch suggests, there could potentially be yet another hit program for the network.

As you go through your development process, consider looking back over what has been successful on your target networks, and then “retrofit” the idea to 2008.

UNIQUE ACCESS

Another buzz phrase that CableU has been hearing from broadcasters it that they want programming bringing “Unique Access.” Take a subject that you thought the average viewer already knew inside and out, then open a new door via an industry insider, or exclusive access.

This unique access could come in many forms. Do you have the exclusive rights to a book? Sign a talent agreement with a great host? Live next door to the corporation you plan on following? That connection allows you to pitch an idea that you can be confident that no one else in the industry is pitching. There’s not as much need to worry about copyright infringement, a network “stealing” your idea, or going head-to-head against another production company that wants to pitch the same idea….so the more you nail down, the more likely that you “own” the idea.

Look around at the people you do know and have access to – anyone with unique skills, or a compelling job, or strategic information might very well be the subject of the next hit show. (Just make sure that you sign an agreement with any talent before pitching!)

STRONG CHARACTERS

These are the individuals who can take any program – whether it’s food or home improvement, travel or extreme sports – from just another pitch to a new potential hit show. It might be someone who is an expert in their field, or a host with a passion for adventure, or an individual who can bring an immersive experience to the viewer at home. No matter what, your talent must stand out from the crowd, be compelling on camera (because you did shoot some tape, didn’t you?) and relate well to the audience.

Great examples of strong talent abound on the Travel Channel with personality-driven programs like Anthony Bourdain on NO RESERVATIONS, Andrew Zimmern on BIZARRE FOODS, and Samantha Brown on, well, everything.

Docudramas undoubtedly succeed when characters are memorable and relatable, sometimes almost despite the context (GHOST HUNTERS on Sci Fi, for example, continues to draw in a strong female demographic.)

Make sure that your characters pop not only to you in real life, but that it translates well to tape. And again, if you’re pitching a talent-driven or character-driven show, you’ll probably need to have some tape (no need for a pilot, just a few minutes should suffice.)

PASSION FOR YOUR STORY

You know how to tell a story, you have an interest in television. So what inspires you? In addition to being a producer, what fascinates you about the world? What are your hobbies? What subject do you know more about than your friends, or which one would you like to learn about? Chances are strong that if it interests you, it might interest someone else. And the more you know a subject, the better you’ll know how to translate that same passion into gold on the small screen.

EXECUTION / SALABILITY

So you’ve figured out your topic, your new spin, and have your characters nailed down. It’s time to consider your target audience and your target networks.

Who are you pitching this to? Does the tone fit with what they want and what they’re looking for? A&E’s programming does not look or feel like Bravo’s programming, yet many programs can seemingly be a fit on both networks.

Do your research and feel free to tailor your program to best fit the network to which you are pitching, even if it means creating a number of different treatments for the same idea to pitch to different networks.

THAT JE NE SAIS QUOI

Sometimes, timing and luck can mean everything to a producer. Network executives often don’t have a “perfect pitch” in mind – they’re simply looking for those ideas that stand out and come to life before them in a way that touches them.

So keep trying, keep developing, and most importantly, keep the ideas coming because the more innovative you are and the better ideas and pitches you can create, the better your chances become at having a network say yes.

And, as always, CableU says GOOD LUCK TO U!

Liz Levenson joined CABLEready in 2006 and serves as the company’s Director of Program Development. She is responsible for supervising all acquisitions and submissions and also works closely with CABLEready’s program suppliers on projects in development. Prior to joining CABLEready, Liz was On-Air Promotions Coordinator at truTV in New York. Earlier in her career she served as Development Coordinator at Versus (formerly Outdoor Life Network.) She holds a BFA in Dramatic Writing from New York University’s Tisch School of the Arts.

You can e-mail liz at: liz@cableready.net

1. Where do you find inspiration for a new show idea?
Good question….everywhere really. I constantly read and look for people or stories that might have a television application. It really isn’t just about what I want to do, but rather, what I think will make good TV. I think most people think you have an idea for a show and you pitch it, but it really does not work that way. I think a good source of Inspiration comes from the networks. Who are they trying to reach (demo/gender)? How are they positioning themselves (promotion)? Then you are always on the hunt for people and ideas that might fit and those ideas can come from anywhere, NOT just you.

2. What research do you do before gong into a pitching session?
You better know a networks schedule before you even begin the development process. I used to be a programmer and I can tell you, it is frustrating when a distributor/producer schedules a meeting with you to try to sell you a show that has no business on your schedule. Don’t waste their time! I also watch their network promotions, as much as the shows. This gives you some insight into what they want to be nine months from now. Remember the shows on the air today, even as a new show, were conceived at least 9 months ago.

3. What advise do you have for upstart producers trying to get their foot in the door?
Be passionate about producing television not just about an idea. Remember, you must be prepared to share your baby with the network.The network will want to make some “tweaks” to your idea (baby) and who can blame them? You are asking them to pony up big chunks of dough on a gamble, so they just want to minimize the risk. In addition, be sure you are pitching ideas you are capable of producing. What is your skill set? They want to know you are capable of bringing it in on time, on budget and on creative. And for god’s sake don’t start your conversation with the following line, “everything on your network sucks, you have to take our idea as it will be the best thing you have on the air!” Yeah, I have heard that one before!

4. What show do you wish you had produced and why?
Myth Busters! I am a science junky and find it very entertaining. More importantly, it is a show that inspires kids to see science as entertaining, fun and a career choice. Most everything we do has a science bend to it, so it is my niche.

5. What types of shows do you think are most in demand now?
Hits! Everybody is asking for one!

6. What types of programs do you wish were in demand now? (Or think should be.)
Everything we are pitching of course! Actually, I wish there was a better business model for short-form programming. We hear a lot about web shorts, but the money just is not there to support them right now.

7. What types of projects interest you most and why?
I like anything with a science bend. And that covers just about every genre. I believe you can apply science to almost every subject, which allows you to tell an old story in a new and hopefully more revealing way.

8. How important do you think it is for your show idea to have an online component?
It depends on the network and the audience. Every year it becomes more important. The younger generation uses the internet much more and as they enter the core demo groups (18-49 and 25-54) they “expect” an internet component. There will always be a need for a passive viewing experience, however for our youth, passive means only doing 2 things at once instead of 4.

9. Where does most of your budget funding come from, if not from the network?
For co-pros we deficient finance our projects. Make sure you have an understanding banker.

10. How often do you attend industry conferences and festivals, and which are most important for your business?
I regularly attend the MIPS, NATPE, and Real Screen, but not always. I also have a representative that attends them all. The markets are important if you own shows, or if you are looking to make new contacts. However, nothing is more effective than having a hit series in production.

Final Thoughts: To be successful in this business, you need to remember it IS a business. You must ask yourself, do I want to make this program AND can I make money doing it for the price point and schedule offered by the network? Not every deal is worth taking. The good news is, the appetite for television programs seems be very strong and the opportunity to “get in” still exists. So keep the ideas coming. The next hit will likely come from the creative mind of a Producer rather than from an internal brainstorming session. But also remember, you need to be passionate about the business of TV. If you cannot make a profit producing shows you will be out of business fast. Remember to do your due diligence…know the networks schedule, who they are trying to reach (viewer and advertiser) and be sure you are business smart so you can make this a career instead of a once and out.

Dale Bosch
President
Bosch Media LLC
651-646-8460

But with the emergence of more and more niche networks, and the constant shifting of ownerships and executives, it is becoming increasingly harder for independent producers to develop a show that is not only going to stir people emotionally, but appeal to executives as well. So producers are now tasked with having to create the next big hit, the newest innovative format, and uncovering characters no one has seen before.

Sure, no problem.

Though developing the next hit show is truly no easy task, there are several aspects to consider that will give your show the strongest possibility of getting sold to cable network.

THINK NEW SPIN ON AN OLD TOPIC

If there’s a subject that’s worked well in the past for a network, there’s no reason why that same topic wouldn’t be just as successful again. Something that CableU has heard nearly across the board from all cable networks, despite the network’s particular niche/genre, is that they are looking for “classic topics with new approaches.”

If you take a careful look at what has been successful in 2008 on non-fiction cable networks, it is, in essence, the very same thing that has been successful in the past. The Discovery Channel recently announced a new documentary special on the Giant Squid. A search using the CableU search feature quickly returns 21 results on the topic – this has obviously been covered before by a variety of networks, including by Discovery itself. But armed with a new team based out of New Zealand, and the largest known specimen of a colossal squid, as the new pitch suggests, there could potentially be yet another hit program for the network.

As you go through your development process, consider looking back over what has been successful on your target networks, and then “retrofit” the idea to 2008.

UNIQUE ACCESS

Another buzz phrase that CableU has been hearing from broadcasters it that they want programming bringing “Unique Access.” Take a subject that you thought the average viewer already knew inside and out, then open a new door via an industry insider, or exclusive access.

This unique access could come in many forms. Do you have the exclusive rights to a book? Sign a talent agreement with a great host? Live next door to the corporation you plan on following? That connection allows you to pitch an idea that you can be confident that no one else in the industry is pitching. There’s not as much need to worry about copyright infringement, a network “stealing” your idea, or going head-to-head against another production company that wants to pitch the same idea….so the more you nail down, the more likely that you “own” the idea.

Look around at the people you do know and have access to – anyone with unique skills, or a compelling job, or strategic information might very well be the subject of the next hit show. (Just make sure that you sign an agreement with any talent before pitching!)

STRONG CHARACTERS

These are the individuals who can take any program – whether it’s food or home improvement, travel or extreme sports – from just another pitch to a new potential hit show. It might be someone who is an expert in their field, or a host with a passion for adventure, or an individual who can bring an immersive experience to the viewer at home. No matter what, your talent must stand out from the crowd, be compelling on camera (because you did shoot some tape, didn’t you?) and relate well to the audience.

Great examples of strong talent abound on the Travel Channel with personality-driven programs like Anthony Bourdain on NO RESERVATIONS, Andrew Zimmern on BIZARRE FOODS, and Samantha Brown on, well, everything.

Docudramas undoubtedly succeed when characters are memorable and relatable, sometimes almost despite the context (GHOST HUNTERS on Sci Fi, for example, continues to draw in a strong female demographic.)

Make sure that your characters pop not only to you in real life, but that it translates well to tape. And again, if you’re pitching a talent-driven or character-driven show, you’ll probably need to have some tape (no need for a pilot, just a few minutes should suffice.)

PASSION FOR YOUR STORY

You know how to tell a story, you have an interest in television. So what inspires you? In addition to being a producer, what fascinates you about the world? What are your hobbies? What subject do you know more about than your friends, or which one would you like to learn about? Chances are strong that if it interests you, it might interest someone else. And the more you know a subject, the better you’ll know how to translate that same passion into gold on the small screen.

EXECUTION / SALABILITY

So you’ve figured out your topic, your new spin, and have your characters nailed down. It’s time to consider your target audience and your target networks.

Who are you pitching this to? Does the tone fit with what they want and what they’re looking for? A&E’s programming does not look or feel like Bravo’s programming, yet many programs can seemingly be a fit on both networks.

Do your research and feel free to tailor your program to best fit the network to which you are pitching, even if it means creating a number of different treatments for the same idea to pitch to different networks.

THAT JE NE SAIS QUOI

Sometimes, timing and luck can mean everything to a producer. Network executives often don’t have a “perfect pitch” in mind – they’re simply looking for those ideas that stand out and come to life before them in a way that touches them.

So keep trying, keep developing, and most importantly, keep the ideas coming because the more innovative you are and the better ideas and pitches you can create, the better your chances become at having a network say yes.

And, as always, CableU says GOOD LUCK TO U!

Liz Levenson joined CABLEready in 2006 and serves as the company’s Head of Program Development. She is responsible for supervising all acquisitions and submissions and also works closely with CABLEready’s program suppliers on projects in development. Additionally Liz works closely with CABLEU, a sister company that is a first-of-its-kind, subscription-only online service providing ongoing competitive analysis of performance and trends concerning nearly 150 cable networks. Prior to joining CABLEready, Liz was On-Air Promotions Coordinator at CourtTV in New York. Earlier in her career she served as Development Coordinator at Versus (formerly Outdoor Life Network.) She holds a BFA in Dramatic Writing from New York University’s Tisch School of the Arts.