1) Legal representation. You absolutely must hire an attorney who has done many reality production deals to go over any contract that anyone presents you. No one else (as in, not a divorce attorney, a film attorney, etc.). It is too easy to be cut out of a show (or locked into one), depending on what you are or are not bringing to the table at this early stage. Things to consider include what your role will be if the show is picked up by a network, what your role will be if the show survives past one episode or a full season, and, surprisingly, what options you will have to get away from the show even if it is picked up and produced. Our business model is unlike any other in the entertainment industry – trust me, you want someone who has seen and circumvented all manners of horror and hilarity representing you in any negotiations with anybody.

2) Payment possibilities. In non-fiction TV, there are typically no creator fees or credits. Instead, there are production fees, which usually represent a percentage of the overall budget once a series order is negotiated. And those fees go directly to the production company that the network hires to produce the show, not to creators. A successful pitch might first get a development contract, which typically means about $5-15k that goes to a production company or show runner who will work with the network to create an executable treatment, budget, schedule, etc. That is to cover company overhead for usually up to 6 months, so it does not go very far at all! If you have a deal with that production company, though, you can negotiate for a small piece of the development money, and they may actually give it to you. They probably will not because they will be doing all of the work to get the series order, but they might do so to remove you from the project. So here, you may be able to get a couple thousand dollars.

3) Pitch partners. Not all prod cos are created equal! So before you agree to partner with a prod co before the show is picked up, be sure they have a solid track record of producing reality shows for the networks you plan on trying to sell the show to. Because even established prod cos can have a tough time cracking new networks they have not yet produced programming for. Check IMDb.com for shows that are similar to yours or networks that are right for your project to cull a list of companies you should be talking to.

All of the money that exchanges hands in non-fiction generally is for production work, whether it is development or actual production. If you have reality production experience, that is a strong card to play to stay attached to the show and earn a weekly salary if the series is picked up. If you are the central talent, or have a contract on the central talent, that is another way to stay attached – and requires a heavy attorney presence to protect you for other gigs and revenue streams that the distributor will want to control. But in our business model, you are rarely paid to walk away. You are just cut out of the deal.

As always, I recommend that you read through the dozens of posts in this blog to learn more about our business, and be sure to check out my book, The Show Starter Reality TV Made Simple System, if you are serious about selling a show and staying attached.