You might have a great TV show, but can you sell it? Watch and learn from an experienced TV exec how to bring your vision to the screen, whether locally or internationally. Television professional Grigor Stewart’s approach to selling TV shows is practical and powerful. In his video lessons, Grigor teaches you his playbook for thinking like a television network, making your idea marketable to audiences, and ultimately landing television sales deals. Use his simple strategy to increase your chances of success. Don’t waste another minute. Who is this course for? Among How To Your TV Show’s students are television professionals, producers, and production companies, Film students as well as film schools. Grigor lays out every step of the TV show journey—from finding a partner to cross-border trade—and talks through the different roles in the industry. You’ll learn how to sell your show to both traditional broadcast networks and streaming giants such as Netflix, as well as through a distributor or rep.

Now these are some non-negotiable points below for starters if you want to play in this space.

• Buyers are very practical, they buy shows not ideas

• They have to consider their audience, their ratings and their advertisers – can your show help

• It may do so IF you have done your homework on their channel and what they offer.

• I always get the question “What sells? What sells is what you see on TV particularly the imports on your local channels and what is running on your international channels.

• If you think what you see on telly is rubbish then that is your opinion and maybe tv production is not for you.

• What you see on TV is what is actually selling and more importantly what is trending globally

• If you want to be an artist go and paint

• Ask yourself this “Is this show relevant to the Network audience I’m trying to sell to?

• Will it resonate with them?

• Can the TV network who I am trying to sell to… sell advertising in and around it. This is how major commercial tv channels recoup their investment.

• Will my show assist in generating new subscriptions or ratings

• Producers must work within the existing television network framework

• Producers must work within the what is trending within the various genres

• It is the Network who decides on a strategic new direction based on audience research and some serious planning

• Trying to re-inventing the wheel will cause you great distress

We see the same mistakes over and over.

We see TV shows and we think we can do better.

We become passionate about our idea and take risks to make our projects come to life, we try to complicate existing formats of shows.

While passion is a good thing we need to understand that it’s the audience who dictates a networks direction.

The ego can prove problematic and expectations need to be managed this guide will allow you to address the Programme Purchasing process from a practical and non-emotional perspective.

There is a structure that is in place with television channels around the globe and decisions are made not on the basis of how good the show happens to be but does it resonate with the networks target audience and will it resonate with their advertisers.

Remember a TV channel buys content from the advertising or subscriber revenue it generates and as such must always consider these Sugar Daddies and keep them sweet at all times.

The buyer or programme acquisition person is the first point of contact. They pull together all available shows that potentially could work for them.

Commissioning departments just for the record deal with programme ideas and pitches for new shows that will be produced in conjunction with the channel.

This normally happens with companies who have built up relationships over the years and are trusted suppliers.

The content is pooled together and discussed at planning meetings to see if it can work with the existing portfolio of programmes and existing programme strategy and attract and maintain both audience and advertisers.

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Advertiser Funded Show

While you might think it’s a no brainer for a broadcaster to take a free show, think again. The network is in the business of keeping both its audience and advertiser happy so any ad funded show must resonate in the same way as if they paid for it. The producer must sell the show concept to both a sponsor/advertiser and the network.

To make it commercially viable for both the producer to produce it and the advertiser to fund it, it must be a primetime show whereby generating as much value as possible.

Also the network must love it to be giving up such a valuable slot.

In some territories there are networks who will want you to pay to be on over and above giving them a free show and some lesser networks who will do a straight swop, however fact remains it’s a double sell to both network and advertiser.

A couple of global ad funded shows:

GILLETTE WORLD SPORT was broadcast on over 300 channels at one stage

RED BULL TV brands and creates its own high octane shows and host broadcasts its own live events

POP IDOLS for example become ad funded shows due to their popularity. A production company can sell an international format to local brand and then to its local network. Think Coca Cola Pop Idols

This can work very well if the Format has global appeal but not yet broadcast or sold within your territory. If it’s not on your tv screen it’s probably not sold..

According to a Channel 4 UK study. Branded entertainment significantly increased brand engagement and drove positive viewer perception. This is turn transferred the positive emotions created by an entertaining programme to the brand behind it.

i.e. Created great brand association

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Airtime Sales

The Airtime sales department is dedicated to selling airtime space across all content that is placed within the programme schedule.

They like selling long running series that are high end and that can appeal to a mass audience. This allows the brand to create momentum with the show and create a wide reach for the brand. The advertiser would be given add on value in their advertising around the repeats and as such would create a greater frequency for the brand.

Single one off shows do not allow an advertiser to build any kind of kind of reach and frequency and as such are a very hard sell.

Your show needs be commercially viable to the channel as much as it is of interest to the audience

A network is like a supermarket it has a lot of items on the shelf that they paid for. They need to get their money back through advertising or subscribers. So when considering making a show for a network it must be produced with its saleability to both advertiser and audience in mind.

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Advertisers

Advertisers while trying to get to the biggest possible audience within their target market, they also need to be sure that they are attaching themselves to high end shows that resonate with their brand and consumer.

So the show must be mainstream and accessible to the masses it must not create any form of controversy unless of course it was a specialist investigative Current Affaires type show created for a network such as Crime and Investigation.

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Advertising Pie

This is very important. The advertising pie globally doesn’t change but there are more and more potential places for companies to advertise be it online or mobile, and on many of these platforms they are getting far more bang for their buck than they would on television.

So television has to be offering a high end menu of content to attract advertisers particularly more specialist channels that don’t have the massive free to air audience.

But even these guys have to be very conscious of their advertisers. In the past a larger proportion of advertising revenue would go into buying shows but now with networks creating their own digital, online or web offerings to keep up with modern trends they are actually fragmenting ad revenue coming into their channel as a whole whereby cutting the available money to purchase shows.

JUST A QUICK THING, WHILE YOU MIGHT ASK YOUR FAMILY AND FRIENDS IF THEY LIKE YOUR SHOW OR SHOW IDEA, IT IS NO GUARANTEE THAT A BUYER WILL LIKE IT.. THEY HAVE FAR MORE THINGS TO CONSIDER AS A CRITERIA FOR BUYING A SHOW, NO BUYER WILL TELL YOU YOUR SHOW IS RUBBISH THEY WILL SAY, IT DOESN’T SUIT THEIR NETWORK AT THIS TIME!!!

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Audience

Due to the many options available to the viewer these days viewer loyalty is paramount to a channel and any show placed in the schedule must resonate with their audience.

So research is vital. If you can say to a buyer this show will work for your audience because of X, Y & Z, they will love you forever.

Why is this?

Because a million sellers offer them shows that are just thrown out there in the hope that some will stick. The fact that you took the time to research ie even just took the time to look at their schedules, shows that you have given thought as to where you show could potentially add value to their offering.

AUDIENCES DON’T LIKE CHANGE - PEOPLE DON’T LIKE CHANGE - BUYERS KNOW THIS THEY PLAY SAFE MOST OF THE TIME

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Broadcaster Type

Free to Air Broadcasters – have an obligation to broadcast as diverse an offering as possible to the entire population this is due to the fact that they are paid for by the public via the local compulsory Television license fee.

Generally in Europe they don’t not advertise but are supported by the Government and the TV license fee. Some are allowed advertising in the evening so that they may compete with the local commercial networks.

This allows them to have bigger revenue stream to compete with the buying power of the 100% commercial networks. The network’s priority is to its local market so local content is very important. The imports that they purchase would be primetime dramas, movies and high end documentaries.

Free to Air Commercial Broadcasters – are after as much advertising revenue as possible they advertise 24/7 and as such only look at shows that can generate good rating and high end advertisers.

Both Free to Air do have an obligation to show 50% local content so half the schedule is already taken up

Subscription Services – these guys are in the business of selling black boxes ie decoders and monthly subscriptions. Pay TV was initially built around sports subscriptions but they added movies, series

and whole other channels, such as Nat Geo etc to make them more attractive to a wider subscriber base.

IPTV/OTT VOD, AVOD, SVOD, is the new way of consuming subscription services via the Internet. Because of greater bandwidth capability now Pay TV via satellite is on the decline but it is still the same pay to view service just via a different delivery system.

With new IPTV platforms like Netflix and Disney+ etc their focus to generate new subscribers is high end drama series and movies, a constant throughput is required to maintain the insatiable appetite of the consumer. This comes at a massive price, unlike sport, where they buy readymade live rights with minimum fuss and without the huge production costs of new drama and movies.

Never mind having to produce local shows in local markets making them compete with the massive local channels.

Also major Drama studio producers, like HBO, CBS, Fox etc don’t sell their shows to Netflix, why should they, Netflix want worldwide rights for same amount of money that they call sell their show within a couple of territories in Europe.

There is huge revenue to be had selling top Drama series territory by territory so a global deal with a Netflix for example makes no sense what-so-ever

Channel Carriage – All Pay TV networks carry multiple channels blocks from around the world be in BBC Lifestyle, Discovery, Nat Geo, MTV, Movie Channels and Music Channels.

The monthly subscription fee is carved up and a revenue share goes back to each of these networks, the value of which is subject to how important that channel is to the overall offering on that particular Pay TV platform.

BBC First for example would be far more valuable to a Pay TV platform than say MTV Base.

There are two levels of acquired content on Pay TV platforms, whether you are Sky UK, MNET South Africa or Foxtel Australia. There are smaller specialist channels that buy, say lifestyle shows within the Pay TV platform itself. However the main function is to drive new subscriptions and as such they have to have the best Live Sport, Best first run Drama and recently released blockbuster movies. Most secondary type sports programming for example is treated as filler material as it is not a driver of new subscriptions.

REMEMBER PAY TV (SPORT) AND OTT SERVICES SUCH AS NETFLIX, HBO MAX, DISNEY+ ETC ARE ONLY ABOUT DRIVING SUBSCRIPTIONS…. NOT ABOUT TESTING THE WATERS… SHOWS HAVE TO BE A BIG AND BOLD FROM THE START.

THERE ARE TWO TEIRS ON PAY TV – SUBSCIPTION DRIVERS and WALLPAPER

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Buyers

A buyer is a mythical creature that rides Unicorns and lives in the outer rings of Saturn. And as long as you keep trying to sell them shows that are totally irrelevant for their channel they will continue to be mythical creatures. Buyers are very practical they buy specific genres and within a confined framework particularly if they work for a large network. No broad margin for experimenting with your show on naked mountain yoga.

They have specific slots to fill with tried and tested shows that work for their audience and advertisers and do not just buy random shows.

When looking at new shows these will be based on their own internal research of audience habits, likes and dislikes.

Is this new show sustainable? Can it still resonate within my existing demographic? Can I sell it to my advertisers? Will it generate significant ratings?

There really is no margin for error in this hugely competitive market place. Buyers do like to meet new producers with new shows as it also gives them ideas for new content to offer to their audience. They are not in the business of listening to long boring programme ideas they have slots to fill, they are filling shelves in a supermarket. They want to see finished goods.

They wont buy a show based on a promo they will want to see that you can fulfil your side of the bargain by having a finished series for them to view and assess. No network will risk buying a show unless its completed because once it is to sold to the channel, a slot is allocated, advertising is sold in and around it, it is promoted and published in their schedule.

Be practical do research on who you are meeting, if you can’t take the time to even google their channel then why should they bother.

MOST TELEVISION IS RE-HASHED IT HAS TO BE PASSIVE AND ENTERTAINING – IT HAS TO BE FAMILIAR IT IS NOT INTERACTIVE THOUGH MANY PEOPLE HAVE TRIED. FOR THE MASSSES ITS ABOUT PUTTING YOUR FEET UP AND RELAXING

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Big Territories

The major European Territories are UK, Germany, France, Italy & Spain. US and Japan are the other 2, 7 in total.

The US market imports about 8% of foreign content and Japan around 4% so these markets are extremely difficult to sell into if you are not based there and creating shows for these local markets themselves.

Same with the European countries, you want to making shows local with an eye on international. The local market pays for the majority of the production and hopefully another co production partner will pay for a large portion so that the show is covered and the international sales are profit.

If you produce a show and wish to re-coup a large percentage of your production you need to have a big territory buying your show as a large territory can pay up to 10 times more than many other smaller territories. So it’s important to have your eye on a big territory as your local funding partner or at least a guaranteed sale if it is not a local commission. I cannot emphasize enough of having the majority of the INITIAL budget covered, before you even look at international sales.

If you don’t then you are gambling and good luck with that your will lose your shirt

In today’s market you have to be very diligent and cannot produce on spec and expect to sell in a big territory this is gambling with the odds stacked against you.

IT’S WORTH NOTING THAT GLOBAL BROADCASTERS LIKE NETFLIX, ONCE THE NOVELTY OF THEIR SERVICE HAS WORN OFF IN THE BIG TERRITORIES, THEY NEED TO START PRODUCING LOCAL

SHOWS TO MAINTAIN THEIR RELEVANCE WHILE AT THE SAME TIME KEEPING UP WITH THE INSATIABLE APPETITE OF THE CONSUMER

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Co-Production

Priority number 1 is to find a partner, be it a local network, an advertising funder, if you are doing a local ad funded show that you will then de-brand for the international market. Or a Co-Production partner, if you have 50% of the funding in place via a local network and or you are able to produce cheaply in say South Africa where there is high technical expertise and have a lot of costs effective resources at your disposal, then you are an attractive option for as partnership.

Particularly if it is a foreign production company that is producing similar types of shows for its own local network or an international distributor who carries a similar genre within their international catalogue and has portfolio of potential buyers. These are great partners for you. Research who is making similar, look at the distributors who are selling that genre. The trade press has all this later.

In terms of how the co-prod deal is structured if it is a 50/50 investment then any international sales are split 50/50. Who you appoint to sell the finished show, if neither of you have distribution expertise, or a distribution arm to your business, is open to discussion,

ANOTHER STRATEGY TO ADOPT IS ALWAYS CREATE SHOWS THAT ARE RELEVANT TO LOCAL OR GLOBAL SITUATIONS – BE FIRST TO MARKET EVEN DURING OUR RECENT LOCKDOWN

KEEP COOKING AND CARRY ON getting creative with limited ingredients – JAMIE OLIVER FOR CH4 UK THEN SOLD TO HULU IN THE US focusing on being stuck at home.

LOCKDOWN RESPONSE DRAMA FEATURING UK PRIME MINISTER

NBC STUDIOS IN THE US COMMISSIONED A LOCKDOWN COMEDY – LIKE A “FRASER” STUDIO BASED SHOW

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Contracts

A standard contract is very simple and straight forward, while the contract is there as a binding agreement between the two parties it is more of a guideline as to the obligation of the two parties.

They are there to insure no misunderstanding and why should there be if both parties are conducting themselves with the utmost integrity.

The indemnifications are generally there to protect the network against naivety such as not clearing music, miss representation of facts, illegal use of footage, not having the rights to sell in the first place.

All the basic things that a producer should know about but may think it will not be noticed. This market is as much about trust as anything else, trying to be clever or cute is not tolerated ever.

Sample Contract

Issued between

RSI Radiotelevisione Svizzera di lingua Italiana, a branch of Società Svizzera di Radiotelevisionewith (Swiss Television Italian Region)

its principal place of business located in via Canevascini, CH-6903 Lugano, afterwards called RSI,

and

CLICKBOOGIE 15 Balmoral Road West Beach, Bloubergstrand

RSA - 7441 Cape Town

afterwards called LICENSOR, Licensor's contact: Grigor Stewart

Subject to the terms below, LICENSOR hereby grants to RSI and RSI hereby accepts an exclusive license to exhibit the following Program(s) upon and subject to the terms and conditions of this License Agreement and to the General Contract Provisions attached hereto which are hereby incorporated in this License Agreement.

1. Program

Title NATURES TAILS

Contract Number 2-50704

Length 60 minutes

Number of Episodes 6

2.Material

Master/Format/Version FILE HD, 1080i25, International version.

Split Audio Tracks

Material's Cost Already in the hands of RSI

Delivery within 01.09.2020

Delivery with/at Download/FTP

3. TV Rights

License Period 01.09.2020 - 31.08.2025

Number of Exhibitions - 10 Runs

Rights Licensed - FREE TV

Broadcast Language - Italian

Territory / Broadcaster - Switzerland and Channels RSI LA1 + LA2

Exclusivity - Yes

Additional Broadcast Rights;

4. Simulcast - see definition clause 1) of the attached General Contract Provisions

License Period and Runs See "TV Rights"

Territory Switzerland

Channels/Platform/APP Web:

Exclusivity No

Download No

5. Internet Rights - see definition clause 1) of the attached General Contract Provisions

6. Author's Rights

7. Cost and Terms of payment

License Fee CHF 6,000 PER EPISODE

Terms of payment 100 % Signature of contract (01.06.2020)

8. Invoice and Contract Address

Invoice The invoice has to be sent in original to the following postal address:

SRG SSR @RSI, Postfach 271, CH - 3000 BERN 26

Or in PDF format via e-mail to:

To be initialed To be initialed

Indicating the license number and the contact person

Contract An original signed and initialed contract has to be returned to the following address:

RSI Radiotelevisione svizzera di lingua italiana, Ufficio Contratti,

via Canevascini, CH - 6903 LUGANO

License fee and other costs will be paid upon receipt of invoice and of the signed contract.

9. Special Conditions

The LICENSOR has been informed that RSI – Radiotelevisione Svizzera di lingua Italiana, is considering, in accordance with the rules of Swiss law, to replace the broadcasting channel RSI La2 with a web channel offering digital linear (livestreaming) and non-linear (FVOD-Free Video On Demand) content, visible through web

CONTRACTS ARE BETWEEN YOU OR YOUR DISTRIBUTOR AND THE NETWORK, VERY SIMPLE VERY SAFE THEY DO THOUSANDS.

ITS ABOUT TRUST NO-ONE CAN RIP ANYONE OFF ITS NOT DONE, THEY INDEMNIFY AGAINST PRODUCERS NIAEVITY OR STUPIDITY

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Cross Border Selling

Many imported shows now actually come about as a result of Networks buying TV series and movies from their immediate neighbours as they have very similar culture customs and in some cases languages etc. Think Russia buying from Ukraine, US & Canada, Colombia and Argentina.

This has been happening for over 40 years in Latin America with Telenovellas, these are Soapies and are very prominent in Eastern Europe and the Middle East where Turkish Dramas dominate the landscape.

This pushes even US Drama into off peak broadcast slots whereas 20 years ago the US shows would have been in primetime.

IN UKRAINE US IMPORTS GET SCHEDULED IN EARLY HOURS OF THE MORNING, COME DINE WITH ME ARABIA IS HAPPENING ONLY NOW, SOME MARKETS ARE SLOW IN BROADCASTING TRENDING SHOWS

SCRIPTED AND UNSCRIPTED DRAMAS COME FROM EVERYWHERE TOP KOREAN DRAMAS ARE BEING MARKETED BY US COMPANIES, ISRAELI FORMAT GUYS ARE SELLING GLOBALY TO NETWORKS AND VERSIONING SHOWS INTO LOCAL LANGUAGES IN LOCAL TERRITORIES

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Distributors

There are generally three type of distributors.

1) The International Sales Arm of major TV Networks such as the BBC where they sell their own locally produced content as well as numerous big budget co-produced shows. These big budget shows require multiple partners to cover their huge production costs.

2) Global international distributors that own numerous production companies in multiple territories worldwide. ITV Studios (UK) is the biggest independent distributor in the US, it owns companies like Leftfield Pictures that have been supplying the History Channel with programming for many years. This is similar in many other territories and as such their Sales people have a readymade supply of content to offer to their international clients outside of the originating territory where it was produced. This is a brilliant business model and has been copied by many global distributors now.

3) Third party distributors focusing on the representation of many independent producers and production companies.

Distributors will first and foremost focus on the shows that they have a greater vested interest in i.e. their own production companies, co-productions they are involved in, and shows that they may have given an upfront guarantee to secure the distribution rights. Their priority is not how good it is or how pretty it looks, this helps but can it sell in a whole bunch of territories with the minimum of fuss. If I market it today can I be in a position to close and sell it tomorrow? Are all the deliverables in place i.e. is it completed, are their promos? Again it’s all about practicalities. Distributors are in the business of filling gaps in the TV Networks Schedules.

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Deliverables

Promos, Episodes on Vimeo to screen, produced to 4K spec, Apple Pro Res Files for example, split audio tracks, timecoded guide scripts, music cue sheets, publicity images, revues, ratings of its initial premier, these are all standard contractual obligations.

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Exclusivity

No TV network wants to buy a show, sell it to an advertiser or promote it to its subscriber base if another network in the same market is doing similar it just doesn’t work.

All networks will buy for their exclusive window so non-exclusive is not an option with new show.

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Episodes

It takes the same effort to sell a 1 x 52 minute show as it does to sell 10 x 52 minute series. No bulk discount apply for selling ten rather than one. It is also a lot easier to schedule 10 x 52 mins, and it gives an advertiser the Reach and Frequency they require for their audience.

It is also a nice schedule block to fill for the buyer including the repeats. It also allows the network to hook the viewer into a new series and gauge how it really performs. This also gives a far greater chance of repeat business to the producer in terms of making a second season. Channels are already thinking of Season 2 after first couple of eps of Season 1 if it reaches its require expectation.

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Formats

There are thousands of formats however only a handful get to make the primetime schedule. Generally the big ones that sell are tried and tested via a big Commercial Network in a bug territory. They will cost effective and studio based, need to be easy to replicate.

It is important to create the production bible, this is the A to Z of the show in detail, structure content, all the elements relating to it including graphics and studio props. Think The Voice, looks the same everywhere. This maintains the integrity of the show not allowing for variations of a theme to muddy the waters of the original IP. However if it needs to be modified for specific market such as China then do so but retain that new version of the IP as it still is yours..

MASTERCHEF, WHO WANTS TO BE A MILLONAIRE AND THE VOICE ARE STUDIO BASED SHOWS AS OPPOSED TO LOCATION, POP IDOLS WITH LOTS OF REHEARSALS CREATE TONS OF TV TIME, THESE SHOWS ARE EASY TO REPLICATE AND EASIER TO SELL TO INTERNAYIONAL NETWORKS

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Fragmentation of Channels

Due to the fact that many channels have become fragmented into specialist genres, be it Lifestyle, Travel, Home Improvement or Cooking, these channels are obviously very specialist with their content and know their audience very well.

This means that when they acquire shows they do not experiment or go “off the grid” they keep it simple and interesting for their viewers. This is why it’s very important to fit the round peg in the round hole. Your show has to be made to fit, that is why knowing the channel who you are trying to sell to is so important.

Their advertisers know who their target market is and due to the fact that the networks specialist shows are delivering these dedicated viewers they are not going to experiment with other types of shows that may not quite hit the mark. It is critical for networks to hang to advertisers as much as possible as their alternative advertising options are endless.

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Financing

As mentioned in the co-production section it is critical that 50% of the production funding is secured locally be it via ad funded, by a local broadcast commission, via a co-production or distributor financing. You cannot go into the global market place with a series that you have fully financed yourself, it is reckless no matter how good you think your show is.

Think about partnering with a distributor who already has broadcast clients and knows the market. Co-productions are vital for projects that are expensive to produce, the Big Guys have to do this all the time for the big series. This is why finding a partner in a lucrative market can add a lot of money to the production budget particularly if that partner already has a relationship with a broadcaster.

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Genres

Most people specialise in a genre, they become good at it, know how to make it work.

A track record in the field helps a lot, it gives it credibility, if you are new to a genre look for partnerships with experienced people. Again look for who is working within that space and who is good. The trade press is full of the various genre specialists

A CLEVER WAY OF CREATING A LARGE SALES BLOCK OF SHOWS IS A GREAT EXAMPLE BY SHONDA RHIMES 13 EPS x 3 shows, CHICAGO MED, CHICAGO FIRE, CHICAGO PD, EASY SELL. ONE SEASON BECOMES 39 EPS EASY TO SCHEDULE THESE SIMILAR SHOWS. GREAT FOR ADVERTISERS TO OWN A SHOW WITH MULITPLE STORIES ACROSS MULTIPLE TIME SLOTS.

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Global Landscape

Schedules globally are very similar, and TV landscapes are the similar. Each country will have its Free TV Networks, Pay TV, IPTV. They all have local shows, imported shows, kids news primetime etc, generally around similar genres and within similar time slots. So your local channels will pretty much mirror what you expect intenationaly.

SHOWS THAT RESONATE WITH AUDIENCES SELL NO MATTER WHERE THEY ARE ORGINATED

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Holdbacks

When a show is sold and released it is always broadcast on an exclusive basis using what is known as the first window.

Generally this is the network who commissioned or if international, the channel that bought it first, or like Netflix they will want to exploit their exclusive window first and holdback all other broadcasts or sales until they have maximised it to their subscriber base.

This is how movies were sold in the past to Movie Houses first then to sell-through video, then to the highest tv bidder, normally Pay TV and then they would be broadcast on our normal free to air channel, maybe as much as a year later.

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Ideal Scenario

Priority number 1 is to find a partner, be it a local network, an advertising funder, if you are doing a local ad funded show that you will then de-brand for the international market. Getting 50% from your local market is the minimum you must get before selling internationally.

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Joint Ventures

In terms of how the co-prod deal is structured if it is a 50/50 investment then any international sales are split 50/50. Who you appoint to sell the finished show, if neither of you have distribution expertise, or a distribution arm to your business, is open to discussion

MORE PARTNERS MORE PROBLEMS KEEP IT SIMPLE WORK WITH THE BEST, CHECK CREDITS AND PARTNERSHIPS WHO WORK WITHIN YOUR GENRE.

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Know the Network

People say content is king, it is but it’s knowledge that is king. You must have a basic knowledge of who you are trying to sell to or why should they bother talking to you.

Speak to networks that only buy your type of product. Are you going to say to another channel maybe you should change your strategy to fit my show!! You must maximize your own chances by fitting the square peg in the square hole.

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Language

There are only 6 English speaking countries worldwide, so shows are dubbed or subtitled and as such voice over is critical, particularly with shows that are not drama or full of dialogue, they won’t sell. International feeds like Discovery have English presenters because that was the original when they produced it in the US.

Complicated sync dialogue is not what you want in lifestyle shows. Talking head is a no no. You cannot re-voice or subtitle foreign presenters talking to camera it doesn’t work.

People don’t like foreigners talking to them directly. It’s not news coverage, they like to feel comfortable with people they see in their front rooms and as such, they must be able to relate to them always think from the viewers perspective, not from what you may think they would like to see. Remember their TV time is precious to them.

So if you were doing a travel show for example have a beautiful in depth voice over and let the pictures tell the story, if its necessary to have an interview or a piece to camera thn that it fine but always think…. Am I making this easy for foreign language networks.

DISCOVERY NETWORKS for example have been dubbing into local languages of acquired programmes for years from Latin America to Asia. In the bigger territories they have been broadcasting and producing in specific territories such as Spain and Germany localising the language to maintain their audience share and relevance. They are now broadcasting in French language to French speaking Africa via Startimes highlighting that local language is key to sustaining market share.

TAKAHASHI’S CASTLE THE CRAZY JAPANESE CONTESTANT GAME SHOW FOR WANNABE NINJAS WAS MADE AVAILABLE AS A VOICE OVER IN NUMEROUS LANGUAGES MAKING IT VERY SALEABLE. MAJOR NETWORKS CAN USE THEIR OWN LOCAL PRESENTER MAKING IT VERY LOCALISED FOR THE VIEWERS.

FOREIGN LANGUAGE DRAMAS ARE BIG – SCANDANAVIAN DRAMAS RUN ON TV IN THE UK AND THROUGHOUT EUROPE, TURKISH DRAMAS ARE ALL OVER THE MIDDLE EAST AND AFRICA AND ALL ARE DUBBED INTO THE RESPECTIVE LOCAL LANGUAGES.

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License Period

Broadcast period is 2 years and 4 runs for Free to Air channels, Pay TV can be up to 5 years and 10 runs. Nat Geo and Discovery feeds that show a lot of repeats want multiple runs.

A Distributor who wants to distribute your show will want a minimum of 7 years to maximise the show to their buyers are 65/35% split in your favour.

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License Fees and Pricing

License fees are directly proportional to the advertising generated around a show. 1 hour of advertising worth USD90,000 should equate to a straight acquisition of USD30,000 ie one third.

Where a show is placed in the schedule primetime or off peak? Is it a primetime must have? Was it subject to a bidding war? These factors have a huge influence on prices paid, as does a Free to Air Commercial Network as opposed to a Satellite network. There are price guides available. Most buyers offer within a realistic range of what they can afford to pay subject to the type of platform they are buying for.

Major Television Markets

France: Mipcom/MipTV/Mip Doc, Mip Formats

USA: Natpe, LA Screenings

Africa: Discop South Africa, Discop Cote D’Ivoire

Hungary: Discop Budapest,

Dubai: Discop Middle East

Asia: Asian TV Market

Film Festivals: Cannes, Berlin, Milan, Toronto

Doc Festivals: Sundance, Jackson Hole, Banff, Amsterdam

MipTV and Mipcom these are the biggest TV markets which are split into Mipdoc and Mipformats, there is NATPE US, NATPE Budapest and doc festivals, there are numerous.

These are giant supermarkets for television shows. The hard selling and buying of TV shows, not to talk about the art of programme making, it’s about relevance no time wasting.

When meeting TV Network buyers;

You must have business cards if you don’t, don’t go, non-negotiable non debatable, if you think you are too cool for school don’t go. They wont give you their cell number if you can’t be bothered to come with cards. And always have some kind of device that you can show promos on an iPad or laptop, do not show it on a cell phone that’s lazy. You know your show intimately they don’t , you shoot 4K and you want to sell your promo via your cell phone. Good luck..

Send them links to their inbox and thank them for the meeting as soon as its finished and re-highlight what you discussed after 16 meetings a day they won’t remember you, this is very important especially if you are new.

There are Commissioning editors there who meet with potential production companies who produce shows that fall within the networks remit. It’s good to pre arrange meetings with them well before the market and send them your slate of shows so the meeting can be more practical.

There are acquisition execs at big distributors who are looking at content that will sit nicely within their existing catalogue, they also to find a 50% partner. Pre arrange with these guys as well. And more importantly if they have invested in your show they will focus on getting that revenue back rather a third party. Always good to partner a distributor they can be easier to deal with than a network direct. Plus they already have a bunch of clients they can sell to..

Film festivals and doc festivals are mainly for the exchange of ideas watching new docs, going to premiers of screenings, Sundance Film festival, Sunnyside of the Doc etc and also finding Co-production partners. The Mipcom markets are more for straight selling

Back to basics this is important:

Book meetings way in advance,

Meeting time is valuable to a buyer, so its important that your show must resonate with their channel

Hopefully you know this as you will have researched their channel

You must do homework it will prove you are interested in building a relationship

Sounds stupid but you will be amazed, Lifestyle buyers buy lifestyle shows, don’t irritate people with other genres, ask them at the end if you can have contacts for other genres within their TV channel

Marketing material is important, flyers etc and screeners of both promos and full eps, this all must be easily accessible and on your laptop.

Remember it is very much a meet and greet and building relationships, if you have done your homework then your success rate will be greatly improved

The buyer also knows what they want for their channel so you can’t oversell if they are not interested.

Ask questions. Let them explain exactly what their channel’s plans are and what type of shows will they be looking for in the future.

First and foremost you are there to build a relationship and a new friendship, think of it that way first, not there to specifically close a deal, that will come.

Remember the shows have to be approved at a planning meeting in most cases, so the buyers line up shows that can be bought.

If you have been in discussion about a show prior to a market then in many cases they will buy the show there and then because they will have done their due diligence on it prior to coming to the TV market

Be prepared for a short meeting of 20 mins or so as they are scheduled every 30 minutes and travelling between slots at big markets takes time.

Also they will want you to send the links and PDF flyer to their email as they can’t screen full eps as they don’t have time.

At markets there are tons of dailies, they are great to see trends you can also get your shows listed in them and they will also publish features on your shows they always need new market content.

If you get a chance go and listen to some of the presentations on various trends or new releases of big shows. This was where Netflix was launched and series such as Game of Thrones, the New Hawai 5 O and every drama or tv series you can think of. Launches have been happening at these markets for 40 years.

Always talk with distributors who carry similar shows as the ones you are producing

While there, build a list of potential distributors you could produce for you can easily approach them after the market, they all need content and content partners, and remember they already have the broadcast clients that they have built up over the years.

As mentioned these distributors will push a show that they have a cash investment , more so than a 3rd party shows

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Multiple Platforms

Always try and sell to standard tv channels that pay a license fee. Not companies offering revenue shares as they cannot guarantee what that will be. Many new IPTV platforms of which 400 shutdown very quickly want to do a revenue share, they don’t want to pay a fee. However if they

can’t guarantee a potential monthly revenue stream then stay away. They only use your content to build their platform

INDEPENDENT PRODUCTION COMPANIES PRODUCING FOR A CHANNEL OR PLATFORM CAN BE SNAPPED UP AND BOUGHT BY ONE OF THE BIG DISTRIBUTORS – ELEVEN WHO PRODUCE HIT SEX EDUCATION SERIES FOR NETFLIX WERE BOUGHT BY SONY PICTURE TELEVISION. ITV STUDIOS UK IS THE BIGGEST INDEPEDENT PRODUCER IN THE US AS IT OWNS MANY US PRODUCTION COMPANIES LIKE LEFTFIELD PICTURES WHO PRODUCE A TON OF SHOWS FOR THE HISTORY CHANNEL. RED ARROW HAS 22 PRODUCTION COMPANIES OR SO. BANIJAY DISTRIBUTION COMPANY HAS SOME 40 ENTITIES PRODUCING FOR THEM.

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Media Consumption

We have become people that require immediacy in our viewing habits. If we are not grabbed immediately we will move onto something else. With all the options available we can choose something else instantly.

Gone are the days we had to wait for the Friday night movie or our favourite series.

That is why your shows must Grab and sustain attention. How many times do we just flippantly scroll through millions of dollars of content because of the variety available!!!

REMEMBER WHAT SELLS IS WHAT YOU SEE ON TELEVISION I CANNOT EMPHASIZE THAT ENOUGH. THE INTERNATIONAL SHOWS YOU SEE ON YOUR FEEDS ARE CARRIED IN OTHER COUTRIES A WELL ALONG WITH DRAMA, LIFESTYLE, DOCS AND MOVIES.

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Networks

Networks know their audience intimately, we don’t, they know exactly what works for them

Buyers will love you if you have knowledge of their channel and can justify how your show can compliment their existing line up.

RE-MAKES AND REVERSIONS ARE ALWAYS BEING DONE

THE OLD MTV BEAVIS AND BUTTHEAD IS BEING REMADE FOR COMEDY CENTRAL IT WILL BE HUGE THE WRITING WILL FEATURE CURRENT JOKES AND GLOBAL SCENARIOS.

IT IS ALREADY A RECOGNISED BRAND SO SHOULD BE AN EASY SELL & AN EASY COMMISSION. THIS MAKES IT A SAFE BET NOT TOO RISKY FOR BUYERS

A+E ARE LAUNCHING EXTREME UNBOXED A MODERN EVOLUTION OF STORAGE WARS. – KEEPING IT FAMILIAR FOR VIEWERS

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Marketing

When you are pre marketing your show to potential buyers or distributors. Create and embedded email, Synopsis, Sexy Pic, Duration, Personalised, not a blanket mailer.

Short description the USP, they get many, short link to promo on vimeo, ideally with no passwords, keep it simple. Can add the full ep link as well. Less is more

They will know exactly if it is suitable or not so there is no need to oversell in the intro

Remember that titles have to resonate and say what the show is , Only Six English Speaking countries for example, so it must translate. So say what it is try not to be obscure.

If they are interested they will request full eps to screen properly

Always promote your shows on as many free platforms such as TBI or C21media, they like news. Also use new distribution platforms like TRX who merge buyers with sellers.

You will also be asked about its broadcast history including local, you could be negotiating locally so that is fine, where it has been sold, how did it perform, any reviews help, and any other unique selling points.

Emphasize the uniqueness of the show, importantly highlight how it can fit in their existing schedule This is the key how it can work for them, you have taken the guess work out, you have done your research.

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One off Shows

It’s a hard to sell 10 eps as a one off show, no discount for more hours, it is incredibly hard to schedule a one off, very hard to sell to an advertiser no frequency, no opportunity to build their ads or campaign. Blue chip special docs get these slots, or a major event, the passing of a prominent person etc.

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Pitching

Remember you pitch to TV Network Commissioners not buyers, You pitch to Programme Development and Acquisitions execs at Distribution companies and Development execs at Production companies that could be perfect as co-production partners.

Ideally the story must resonate fantastic if it has a proven track record in another medium, be it move book, story fable, urban legend. It already is a recognised brand.

Passion does sells though fill the void…

But first and foremost it must have mass appeal, is it global, can it travel will it resonate

You must be able to sell it in one paragraph. Don’t over sell it’s about the concept which should be simple and obvious. It’s about hooking the fish not landing it. Know the person who you are pitching to, is this their market. Do your homework.

Partner with experts in that genre, you will always have to give up equity in the concept to get it made anyway. Don’t be precious be flexible.

Don’t give up your day job if you are given money for development, this is development to see if it is viable, it doesn’t mean release.

Remember, these days a variety of media avenues and revenue streams are needed to recoup the production outlay and make good profits. That’s why franchises do well

HOUSE OF CARDS started a resurgence in BIG DRAMA series, WITH TOP ACTORS COMING TO TV.

Amazons & Netflix need the volume THEY HAVE CREATED A MONSTER OF CONSUMPTION

GAME OF THRONES lack of consistency through WRITERS, happened with HOUSE OF CARDS.

CAST’S FEES DOUBLE OR TRIPLE AS SEASONS PROGRESS AND IT BECOMES A HIT 500k TO 5 MILLION

SHOWS MUST MAINTAIN the same level of quality no matter what the genre.

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Pricing

There are many online guides giving a broad range of who pays what.

However if a popular US hit is in demand its price can be over inflated in the market, networks pay what they can afford. Bidding wars are not really practical, as the show comes and goes very quickly. But if you have had the first couple of seasons you would rather keep it.

Buyers do have strict buying structure though. They pay what the Network can afford and conversely do not offer stupid low prices. They want to do a deal quickly and as such will offer around 20% below and will meet in the middle for a quick deal they do hundreds.

As a rule of thumb 30% of the total ad revenue per hour is what a network will go to.

If a network can get USD90,000 worth of advertising per hour for a show, then yes technically they could pay upto USD30,000 to acquire the show without hurting any other aspect of their business. The other 60% goes to running costs.

Primetime shows command and generate far more revenue than off peak time due to having that bigger evening audience. If your show is daytime don’t expect anywhere near primetime advertising rates, ad rates are lower and the audience is lower.

So for a commercial network, in theory what they can afford to pay is in fact directly proportional to what they can generate in ad sales

Pay TV is more about will it enhance my offering to my subscribers? but again they will pay what they can afford.

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Projections

These are based on a territory by territory analysis of what a territory can pay not what they will actually pay for your show. It’s a market value subject to sale. The big territories as explained can account for a very large proportion of revenue in some cases upto 25 %.

So 50% of production costs must be covered before relying on international sales unless you have deal in place be it a presale via your distribution or production partner. It’s great to see what values your show could potentially command in these markets but as I said it is what the market could pay NOT what it will pay.

MAKE SURE YOUR COVERED LOCALY WITH YOUR INITIAL FINANCE DON’T GAMBLE ON INTERNATIONAL SALES

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Question the Network

People love to talk, buyers love to tell you about their TV Network, take an interest in them we all want to be loved. The more knowledge the greater chance you have of fitting your sq peg in their sq hole. Ask as many questions as you like. I used to have a fact sheet on each network, type of network, audience, main genres etc

This shows interest and professionalism, it shows you want to know who you are working with. Then you are in the position to tailor your pitches or sales according to their needs rather than your own speculation. Speculation is like assumption the mother of all……. Be smart give yourself as much advantage over the competition as possible.

WHAT SELLS IS WHAT YOU SEE ON TV, DID I SAY THAT?

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Technical

Whatever you are shooting is all very standard internationally plus most formats are accepted and most files are accepted Apple Pro Res etc. Rather than looking at a very long list of contractual options just speak direct with the networks Technical or Ingestion department the buyer will happily give you these details and they are generally very flexible and don’t want you going any un-necessary expense and delay delivery.

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Trends

Think American Pickers, Container Wars, Pawn Stars, Antique Shows, ALL Treasure Hunt shows

When the market is saturated it’s time to change and it will quickly don’t be stuck with a nearly produced show featuring a saturated genre.

Nat Geo, Discovery & History all trend with versions of the same theme, it’s always interesting to see what their NEW launches are. They will ALWAYS be looking a multiple seasons of these type of shows as they have researched their viability way in advance.

They will run in primetime and will have had a bit of a splash in and around them.

This programme strategy like all networks would have been planned well in advance that is the type of shows you need to follow. Work within their framework…. As their focus will be on this trends and this trend only.

They will build these type of programme brands over seasons as they have been very well researched.

AN EXAMPLE OF THIS WOULD BE ALL THE “TREASURE HUNT” TYPE SHOWS

STORAGE WARS, CONTAINER WARS, PAWN STAR, AMERICAN PICKERS

CHECK THE NEW STYLE OF SHOWS YJAY YOU SEE PREMEIRING ON A NAT GEO, DISCOVERY OR HISTORY CHANNEL AS THESE ARE LIKELY TO BE THE NEW TREND. GET IN EARLY WITH YOUFR SIMILAR CONCEPTS THAT FIT THE GENRE

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Trade Press

TV Market Intelligence, weekly and daily Online newsletters

Television Business International TBI

World Screen News

Realscreen

Advanced Television

Variety

TV Drama Daily

Digital TV Europe

Rapid TV News

C21 Media

BINGE VIEWING not a new phenomena HOWEVER…..

SO MUCH TO CHOOSE FROM BUT THE EASE OF ACCESS MAKES IT EASY FOR THE VIEWER TO SKIP THROUGH MILLIONS OF DOLLARS WORTH OF TV SHOWS.

WE ARE SPOILT and REMEMBER in the past with linear tv we waited for Sunday Night movie. SO YOUR SHOW MUST GRAB ATTENTION

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Viewer Loyalty

Remember this is a highly competitive market for viewers, it’s imperative to hang on to them so they are risk averse to new shows that don’t immediately resonate with their audience.

They have a huge freedom of choice and change is a fingertip away, your show must be able to maintain that loyalty, IT must be able to compliment existing programming. Their viewer loyalty is maintained by a through put of new and inspiring shows of which, if you do your homework, yours could be one of them.

Just a thought SOCIAL MEDIA can kill a TV show BEFORE it gets off the ground

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Watch Television

Remember to know what sells watch tv most tends are copied worldwide, TV schedules of local and imported are similar globally, imported shows you see particularly in primetime are what is selling currently.

International feeds, such as Discovery, History, BBC Lifestyle or Nat Geo etc are full of the current trends in TV in their genres of wildlife doccies and lifestyle.

They have all been thoroughly researched and commissioned in their own local market and then placed on their respective international feeds, so you have firsthand knowledge of where to look and to see what is trending. I am not repeating myself I am emphasising them for a reason and that is to work within the existing schedules.

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You

They buy from you first and foremost you are the person doing the deal not the TV show. You have to create a working relationship with integrity and be able to deliver on your promise. End of..

It’s very much about relationship building, initial impressions are vital, may sound obvious but we only buy from those that we trust. Humility works, leave the ego in the cloakroom,

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CONCLUSION

Always be aware of who you are trying to sell to

Know their network

The type of schedule that they have

Is there a slot that broadcasts similar shows, are they broadcasting the type of show you are selling

Can your show sit on that channel comfortably

Does it compliment the existing programming that they are broadcasting on their channel.

And if you follow these simple steps then you should have no problem .. Knock em dead