"How To Create A Hit Format in 10 Lessons": The Definitive Guide
"How To Create A Hit Format in 10 Lessons": The Definitive Guide
CHAPTER 1 .....................................................................................................................................................................................................4
WHAT IS A “FORMAT”?
CHAPTER 2................................................................................................................................................................................................... 7
THE SECRET SAUCE OF TV FORMATS
CHAPTER 3 ............................................................................................................................................................................................... 10
HOW TO FIND A GREAT IDEA:
THE SECRETS OF TV FORMAT INSPIRATION
CHAPTER 4 .............................................................................................................................................................................................. 14
FORMALise YOUR FORMAT: WRITE A FORMAT BIBLE
CHAPTER 5 ..............................................................................................................................................................................................20
HOW TO ENSURE YOUR TV FORMAT IS UNIQUE
CHAPTER 6 ............................................................................................................................................................................................ 22
IS IMITATION THE SINCEREST FORM OF FLATTERY?
HOW TO FIGHT COPYCATS
CHAPTER 7............................................................................................................................................................................................. 27
HOW TO SELL A TV FORMAT
CHAPTER 8 ............................................................................................................................................................................................. 30
HOW TO SELL YOUR FORMAT ALL OVER THE WORLD
CHAPTER 9............................................................................................................................................................................................. 36
HOW TO ADAPT YOUR FORMAT ABROAD
CHAPTER 10 .........................................................................................................................................................................................40
HOW TO MAKE YOUR FORMAT LAST FOREVER
• 20% of new entertainment TV shows launched around the world are adaptations of foreign “formats”.
• 44% of new TV game shows launched in the world are adaptations of foreign “formats”.
• 6% of new TV scripted shows launched in the world are adaptations of foreign “formats”.
(Source: TheWit, 2015)
“Copying” successful foreign shows is a risky solution; it only permits you to copy a structure,
potentially leaving out the secret ingredients that make it work, according to the format’s
creator and owner.
If a foreign producer is not talented enough or cannot invest much money, or simply doesn’t feel like
creating their own “foreign-like” show, they can acquire and watch recordings of a hit show abroad,
then replicate many of its characteristics, and change what they feel is inadequate or unlikely to
please the local audience. They can replicate the studio, sets, and narrative—but will in no way be
able to copy the title (which they do not own), the characters, nor the host—even if the ones they
choose may resemble the originals. The participants, obviously, will be local.
By so flagrantly copying an original show—because at this point, this is all it is—the foreign producer
faces risks. The copy may not be as good and savoury as the original. It may not be of the same
quality. There may be missing elements they failed to identify, and that happen to be essential to
the show’s success. Since they haven’t bought the “secret sauce” from the original supplier, their
interpretation is likely to have a different and inferior “taste”: It may not work, even fail, and be
rejected by the audience!
Think about it: If the “secret sauce”—the format—sells, that’s because people have attributed value
to it; it isn’t all wind. A format’s foundation is critical to making the show work. In addition to the skill
and learnings incorporated into building its success, the experience and knowledge of the show’s
innerworkings must be transferred. The foreign producer who copies therefore risks commercial
failure (although, to be fair, some copies often become more successful than official adaptations!).
FORMATS FIGURES
Hit formats are entertainment Hit formats come from the UK, the US and the
and game shows formats Netherlands. Israel, Spain and Scandinavia emerging…
UK
Entertainment USA
Game shows The Netherlands
Factual Israël
Scripted Spain
Talk shows Scandinavia
Others
“Who Wants to Be a Millionaire,” a general-knowledge quiz open to people with average knowledge.
Before “WWTBAM” (distributed by Sony Pictures Television,
1998), questions in Q&A games were tough; participants and
viewers needed specific knowledge in many subject areas to be
successful. Unable to keep up, viewers felt abandoned. Over
time, the “knowledge quiz” genre declined in popularity. In
contrast, “Who Wants to Be a Millionaire?” starts with very simple
questions.
In the rational and cerebral world of knowledge quizzes,
“WWTBAM” soared by combining basic knowledge, emotional
stakes, and a bit of chance. That’s commonplace in 2016, but once
upon a time, this approach was novel. Studying the weaknesses
of older formats, and the possible reasons for their decline, is a
very useful way to invent new, more successful formats.
Distributed by ESG, “Masterchef” managed to make a big deal out of a mere cooking contest
(“Masterchef” before its 2009 reboot), simply by using singing contest conventions to update the
concept. Because of its familiarity, international viewers immediately understood the new formula.
When people first watched “Masterchef”, they could instantly guess what was going to happen next.
It looked like something they already recognised ... and yet it was new. Keeping the same successful
soundtrack but changing the lyrics can be a clever way to cultivate new success.
“The X Factor” (distributed by FremantleMedia) innovated by giving judges a coaching role. Previously,
judges were only responsible for casting candidates; now each judge was responsible for carrying
their candidates to victory. This component to the show added a new element of competition—and
of course entertainment—because not only were candidates fighting for dominance; judges were, too!
“The Voice” exploited this idea and added a personal touch: The judge expresses her wish to invite
a candidate onto her team, but the candidate can also choose her coach. The judge, therefore, is
also under the spotlight. Paradigm inversion; format success!
There are two sources of inspiration for big TV formats. Both are necessary:
• Other formats: This is how formats are born: By gleaning from—or reacting to—what already exists.
In addition to other people’s formats, your own formats can also be enriched and improved upon.
• Popular culture: Radio, cinema, the Internet, books, fashion, music, art, changing behaviour ... It’s
essential to be constantly on alert for what could become a TV format.
In many cases, the best format ideas found roots in other, pre-existing formats. They did not copy
them, but rather drew inspiration from them. Typically, a new creation takes a few elements from
the original, creating something new by moving in a new direction, often triggered by technological
innovation and new business models. In the 2000s, the most popular TV formats (“WWTBAM”, “Big
Brother”, and “Idols”) were all made viable by premium voting services.
Are puppets popular enough to entice an audience to watch, and continue watching, a show that
is 100% dedicated to puppets? The same applies to pets, which are popular in “Got Talent” and on
the Internet; see below for more.
In the Netherlands in 2015, Talpa, creator of “The Voice”, produced a format called “Lip Sync Masters”,
a show in which people lip-dub songs or famous quotes. At first sight this format looks as though it
may have been partially inspired by DubSmash, a hype smartphone app that appeared a year before,
which allows users to take videos of themselves and lip sync any kind of music or sound. The app
was a highly viral phenomenon; even celebrities got into lip-syncing on the net.
But “Lip Sync Masters” may also have been inspired by a previous 2015 US format called “Lip Sync
Battle” (distributed by VMNI), where celebrities battled in lip sync performances. It may also have
been inspired by some formats created some 20 years before by John de Mol, current head of
Talpa, where children—or sometimes disguised celebrities—lip synced performances. In short, that’s
one way a production company can get inspired: With a mix of previous formats, the Internet, and
current trends.
B • Reaction videos
The Internet partially inspired one of the most widely-exported formats in the last two years:
“Gogglebox” (distributed by All3Media International). In this format, viewers are filmed while reacting
to the TV shows they are watching—probably a direct or indirect consequence to the “reaction
videos” that flood the Internet, in which users film themselves reacting to pictures, other videos,
and online gaming.
C • Consumer reviews
In 2015, the same British producer (Studio Lambert, distributed by All3Media International) launched
“Travel Guides”, inspired by “Gogglebox” (filming reactions) and successful Internet sites (like
Tripadvisor.com), where people give their opinions on places they visit. The new TV format presented
travelers, who commented on their experiences as tourists.
D • Family covers
Watching so many parents sing amateur duets with their kids on the web, some of which became
huge world hits, inspired Spanish producer La Competencia to launch “Stand Up for Your Country”
(distributed by Televisa International) in 2015. This format was sold to a dozen markets. The candidates
are parent-child duets who have become stars on the web.
Not everything that works on the web produces huge, long-lasting TV hits. Some ideas are strong
on the web for specific audiences, but can be difficult to adapt to television.
Online, for example, amateur videos of fun cats and dogs are very popular. On occasion, shows that
incorporate these web videos attracted satisfactory TV audiences, but when past producers tried
building TV formats about talented pets, they didn’t always succeed. Few TV viewers are as moved
by a talented dog as they are by even a slightly gifted child… However, dogs have twice won the
British version of “Got Talent” by offering a hilarious spectacle, much like the videos you can easily
find online. Consequently, it proved smarter to implement the “talented pets” component into “Got
Talent’s” preexisting TV format, and not make a full-length format out of it. It was good inspiration
for a few minutes of television, but far less successful as an entire format.
B • Self-shooting
Over the last few years, people have grown accustomed to filming their sports exploits and outdoor
activities on smartphones or action-oriented mini-cameras like the GoPro. Afterward, they post the
videos online and share the experience with family, friends, or the world. Thus burgeoned the idea
of a format in which people filmed themselves, since it’s clearly something they already enjoy. This
idea couldn’t sustain a whole new format, but could perhaps be a strong selling point if positioned
as an added value to an existing type of entertainment.
This probably how, in 2014, “The Island” (distributed by ESG) was created in the UK and the US, as
well as a few other markets. The format follows the lives of people on an island with no production
team whatsoever; they just film themselves, surviving in tougher conditions than those encountered
on “Survivor”. In this way, a technological innovation and an online trend produced an update to the
well-established adventure genre, giving birth to a few other new real-life formats along the way.
One such format was WBITVP’s “Dashboard Stories”, where people are filmed inside their cars while
driving to an important place, launched in 2015.
C • Selfies
No one will debate global popularity of selfies, but they haven’t inspired any significant TV formats
yet. Some attempts have been made: Selfie contests, or formats with “selfie” in the title—so it looks
like producers are at work, but haven’t found the right formula just yet. Similarly, “food porn”—or
taking a picture of one’s dish before eating—is a social phenomenon that has yet to hit the right key
in terms of inspiring a format. Fewer than five shows have been registered in TheWit’s database so far.
researchers (although the experiments were fully documented on Wikipedia or cited in urban
legends). This is how reality show participants find themselves in artificial communal life situations,
or in role-playing games, with the goal of broadcasting their reactions when confronted with issues
like racism, imprisonment, deprivation, etc.
In 2015, Swedish producer Mexiko Media leveraged the “six degrees of separation theory”, which
assumes that anyone can be linked to anyone else through a maximum of six intermediaries, in an
adventure game show called “Six Degrees”. Departing from some remote place on the planet, two
celebrities had to meet a global celebrity in a maximum of six stages. In its sales sheet, Red Arrow
International’s 2016 dating format, “Kiss Bang Love”, claims to be inspired by research indicating that
“kissing is a powerful tool in our search for the right partner, and the average single person kisses
15 people and has at least two one-night stands before falling in love. The show puts this to the test
by skipping the awkward dates, and kissing your way to the love of your life…”
• FORMAlise your format to give it life and value. A bible means your format is more than an idea,
more than just air … even if it isn’t on air yet. It’s work. It has rules or a formula. It was thought up,
and now it exists. It even almost has a market price!
• FORMAlise your format to protect it from copycats. The format bible includes the “recipe” or
“house plan”. The original creator or format producer is the author and, therefore, the owner of the
blueprint that yielded the TV show. The more detailed the blueprint is, the easier it is to demonstrate
when it has been copied. The format bible shows you are its author, the owner of this intellectual
property, and will help you secure (and protect) your revenues.
• The name of the distributor of the format, if any, and his or her contact details.
The order of segments may vary, depending on the format and the importance of each segment.
But game rules must be rapidly announced in a game show, as well as the setting if it is central to
the concept.
C • The show concept: The reason why this unique format deserves to live!
• The pitch.
Carefully choose one or two sentences that say it all. For example: Thousands of wannabe singers
are auditioned and shortlisted by a jury before the viewing audience votes for the winner, who will
sign a recording contract. At first reading, the pitch must sound unique, original, and different. It
must also be justified and legitimate.Even if it isn’t truly different deep down, it has to somehow
feature a new element or a twist.
This should include the number of episodes (one-offs are harder to sell), episode duration, story arc,
etc. Budget and scheduling consequences are huge, even if they change with each broadcaster’s
needs. Most formats must adjust to a client’s needs. Even so, take advantage of this time to explain
your overall business vision.
Beyond the quality of your format idea, the track record determines your format’s price. Selling a
format is selling a track record. To the buyer, a successful track record represents a higher chance
of success. Be enthusiastic but honest with your format data. Buyers do double-check, and some
formats that lack a good track record manage to sell themselves abroad as well; not all countries
are the same, and the factors that may result in success or failure are many. In some cases, they may
have had less success, but may have still generated revenue for their creators.
• Style.
How will the format be shot—like a documentary? Like a “shiny floor” show? Like a drama? For
example, “Survivor” in the US is constructed and edited like a drama. But in the original 1997 Swedish
version, it was filmed more liked a documentary series.
• Casting.
In each local version of a format, the cast must be uniform: The same number of participants, the
same types of participants (amateurs, celebrities, young, old), etc. Even if, in practice, these factors
are negotiable, it is imperative to set strict rules from the beginning. This proves that success is reliant
on your formula. It shows that changing elements might make it collapse, and that it only works the
way you describe it. It is crucial to show that you own this format and only you have the keys to
get it off the ground. This is how you protect the value of your format, and your contribution to it.
• The editing and directing styles that make the show unique.
• The music.
You may remember the music (the song or jingle) of some formats. The music you select for your
format has to be able to travel. Exploited well, it can generate a lot of revenue for you.
Demonstrate your format is scalable, that it has wings and can fly. Suggest possible episodes with
celebrity guests, or other special editions, and spin-offs. If relevant, include any special rules or a
special running order.
H • Multi-platform.
The extensions on other platforms for your format should be included in your format bible. You have
to extend your format territory and define the limits of your property. Sometimes they are part of
the mechanics and are indispensable throughout the format. This may include components such as
live voting or online participation.
Even if it is an extension that is not essential to watching the show on its main platform (the TV
screen), it is in your interest to sell the option in the bible. For example, in 2015, for its celebrity dance
competition “Dance, Dance, Dance”, Talpa Global also sold an app that gives access to exclusive live
backstage content during the TV broadcast, enabling viewers to film themselves dancing at home
and pick their own green screen for background. Owning a proprietary technology helps sell it as a
side order to formats rights, and prevents a local broadcaster and producer from building on your
brand with their own ideas to create a revenue stream for their own benefit.
I • If you have gone into production, the “production bible” should include technical
specifics: The how-to’s.
In a format, you sell a track record and know-how. Establish that you are the only one with these
unique capabilities. A non-exhaustive list of what you should include:
• The production crew: How many people are needed and each person’s role.
• The production consultants: Here, you are selling a consultant’s (generally a “flying producer”)
intervention on the production phase abroad, to approve the format’s localisation. They ensure
that your high standards of production are respected. They also bring experience from other
productions in other countries; they know what has been tried, what works, and what does not.
A consultant’s job is usually done in one or two trips (sometimes up to 10), at different stages of
production. Sometimes the work can be done over the phone. Will the consultant fly in business
class and sleep in five-star hotels? Will he speak English or the local language? All these questions
must be answered and elaborated upon.
• The production plan: Based on the previously-produced version of your format, or on your
projections, provide as much information as you can—schedule, calendar, set plans, camera plans,
lights, sound, etc.
• Logistics for traveling.
• The music list: With audio files attached and information on music rights.
• Video content on DVD or files: Include graphics and any font specifications.
You can also include any advice you may consider useful to the foreign producer, based on your
experience. For example, information on how to handle contestants is important. Elaborate on how
to train them so they play their part well, how they should rehearse what they have to do or say, or
develop the way they must behave.
Founded in Europe 20 years ago, TheWit has established itself as the most influential source of
information on international content trends. The conferences given by TheWit, during international
markets like MIPTV and MIPCOM, are trendsetting and have a huge impact on the business of formats.
Subscribers to this paid and independent service, financed through subscriptions and advertising, get
access to databases, newsletters, reports, and videos about TV and digital content available around
the world, as well as information about projects being developed by producers and broadcasters.
With this tool, you’ll learn more about the world of production and the creation of TV formats, in which
it is critical to acquire a high level of general knowledge. You can also get inspiration to create your
own format, and information to help you understand how to position it on the market by identifying
niches left unserved. This data can provide the tools you need to create a product with a unique
selling proposition—which will help you avoid wasting your potential client’s time. If you present a
format that you wrongly consider fresh, you lose credibility with that person who, like everyone else,
wants to be different and to be the best. On the contrary, if you offer really fresh ideas, that person
will contact you regularly, listen to your high-quality suggestions, and become a regular client.
Your format is your property. You plan to make money by producing it yourself, or by licensing it to
other producers in your country or abroad. You do not want it to be stolen. You do not want anyone
to copy or imitate any part of it, or make money off of your brilliant ideas. It happens often, whether
intentionally or not. Everybody imitates everybody else, especially when some products or ideas
are in higher demand than others. However:
To be more persuasive, CJ E&M publicised a comparative study they made between their show and
the Chinese show, sending it to TheWit to ensure we would spread the word ... or at least not publish
any erroneous information.
These may be registered in your country and some foreign countries as word marks, figurative
marks, or designs. Be aware that separate trademark registrations are generally required for different
countries and for different categories of products and services.#
Registering a domain name is a necessity when you have a good global title. Two months prior to
launching “The Voice” in Holland in September 2010, Talpa registered multiple .com domain names
for potential versions of the show for Germany, Ireland, Spain, Italy, and Canada. Don’t forget social
media! Also register usernames on Facebook, Twitter, etc.
At least:
• A short version of your format bible, which includes your pitch and presents the format (while
explaining how unique it is).
• A video: A trailer, teaser, or mood tape.
Possibly:
• The video of the pilot if already shot, or of an episode already aired.
• The track record (airings, ratings, etc) of the format if it has already been aired.
THE VIDEO
2
Now that you have a small PowerPoint version of your format bible, it’s more likely that the person
you pitch will understand it … but then they have to sell it to their bosses. This is the tough part. You
must absolutely show footage. After all, it is TV, right?
If your pitch (and therefore your format) is clear and coherent, it should be easy to make a trailer.
Take the sentences from your pitch and put images to them. Demonstrate the mechanics by visually
and audibly underlining key moments of drama.
B • Dear TheWit, I don’t have any video footage of my format. What should I do?
If you don’t have a pilot or an already-aired episode, work with footage borrowed from pre-existing
shows to produce a “mood tape”. For a talent show, take generic footage (casting auditions, crowd,
singers…) that isn’t too recognisable from “The Voice” or “Idols”. This practice is tolerated among
professionals. The advantage of borrowing footage from another format is that you can convey the
sense of predictable success and a formula that works. Reminders of past success always reassure
us, even if they aren’t one’s own.
The danger of borrowing footage from another format is that it is difficult to highlight the specificity
and uniqueness of your own. You could be mistaken for a copycat product. In cases where you have
made a draft in which you have not invested much, and must thus harvest footage from elsewhere,
tricky questions may arise: “Why didn’t you invest more? Was it for lack of time or lack of forethought?
...Or could it be because you don’t believe in your idea?” Inviting such thoughts is never a good idea.
If you lack live-recorded footage, computer-generated animation can help producers convey the
look and feel of a show better than an oral pitch, and for a much smaller investment than a trailer. An
animated full-length or short-form pilot, or even just an animated trailer, can illustrate your ambitious
set, visual identity and characters (which of course can behave much better than real participants
can). Depending on time and budget, you can combine animation and live action if it helps you draw
closer to your final vision.
A WIN-WIN FORMAT
4
It isn’t easy to sell a format. It requires time and money. Mostly, though, it takes energy and passion.
Convincing someone to buy a new and unique product is convincing her to take a risk. It is often safer
for a channel manager to keep their job by renewing a format rather than investing in an unknown
format ... and starting from scratch. This is true, even of declining formats. Even a good track record
for a format abroad does not guarantee success elsewhere. However, not buying a promising format
is also risky: A channel manager’s decision not to buy a format creates an opportunity for a rival
channel to buy it and be successful. In this case, failure to acquire the format defeats their channel
and gives the competition an upper hand—but by then, it is too late for them to order a copycat
in hopes of picking up the pieces. This is the hand you have to play: Convince them that it is riskier
to not buy your format than it is to buy it. Show them that, given the chance, you would not only
watch it; you’d buy it yourself!
Two of the biggest formats in the world were first sold with help from clever deals that hinged on
the notion of FOMO (“fear of missing out”) and collaboration, fueled by the desire to help the format
exist (because it was too good not to).
“Big Brother” was first sold to a small Dutch broadcaster, thanks to a co-venture. Costs and revenues
were shared between both producer and broadcaster.
“Survivor” first sold in the US, thanks to producer Mark Burnett’s personal involvement in securing
advertisers ahead of the broadcast.
Since then, many producers now offer to share both risks and revenue with broadcasters. Selling a
format requires inventiveness to drive audience desire, and inventiveness to complete negotiations.
If you believe in your format, you’ll adapt to any potential outcome.
A • The title.
Not an issue. It can be changed to better adapt to foreign markets. Korean format “Grandpas over
Flowers” (distributed by CJ E&M and Small World IFT) was rebranded “Better Late than Never” for
the US market in 2016. This alteration also facilitated its overseas marketing overall. Even translated in
English, the original title confused foreign markets and was too focused on “grandpas” (an unattractive
theme for some Western markets), rather than on legendary actors, which is the format’s true focus.
The new, international-friendly title has the additional benefit of bringing drama to the format: It
helped us understand that these celebrities must do something before it’s too late.
It is critical to be visually distinctive and instantly recognisable, no matter which language you use.
Keshet International, an Israeli producer and distributor that develops shows with export in mind
from the very start, understands this requirement well: The singing contest “Rising Star” features a
rising curtain. The dramatic question this poses is, “Will the curtain go up this time?”
©Ronen Akerman
In the game show “Boom!”, a (fake!) bomb is central to the concept. The question is, “Will it explode?”
©Yechiel Yanai
In “Trade Up”, a key is needed to start a car, begging the question, “Will the car start?”
Meanwhile, for “Who’s on Top?”, air pods go up or down. “Will they go up?” the audience wonders.
There are many other examples. In “Got Talent”, it is the three crosses on the jury’s desk. Will they
light up?
A TV viewer needs to understand the rules and objectives of a game in a quick glance, even if the
sound isn’t on. Otherwise he or she will change the channel. The previous examples can be used
again: Images speak for themselves. What are the people on screen doing? What do they have to
do to reach their goal?
Once you understand the importance of visual coherence, you recognise the importance of being
innovative or unique for your format to travel. It is what sets you apart, because you cannot completely
break the visual and narrative codes that viewers are used to. A format must recall something well
known: Remember, viewers like what’s familiar.
A strong visual identity and a simple principle will make your show easier to promote. It will stand
out amongst multi-channel/multi-platform competition.
The most universal ideas are the most personal—for example, the quest for love. This quest belongs
to everyone, everywhere. Conversely, the least universal ideas are the most cultural—like the search
for a bride or groom. Everybody wants to fall in love, but not everybody goes about it the same way,
or dates the same way. What’s more, not everyone wants to marry—and of course, even cultures
interested in marriage marry differently. Viewers in different markets will be more or less receptive
to various formats depending on your treatment of this ritual.
In 2004, Global Agency’s first hit format was a Turkish show called “Perfect Bride”. It sold in a few
countries—South Korea, India, Lebanon, and Russia—but was almost impossible to sell in Western
countries (with the exception of Italy) for one reason: The show’s male bachelors lived with their
mothers, who had the power to choose the “perfect bride” for their son. This concept was inconceivable
in countries where future mothers-in-law have no power at all to make this choice, and where
the concept of an “impossible love” is no longer a common reality. A few years later, in markets
where “Perfect Bride” was not introduced, “Who Wants to Marry my Son?” (distributed by WBITV)
successfully proposed a similar idea: To help male bachelors find love … by enlisting their mothers.
The difference is that, unlike “Perfect Bride”, the structure of this format was highlighted as more of
a comedic element than an everyday reality for most men. It became a big hit in Western Europe.
Not all markets take weddings seriously—as in countries where arranged marriages are not a social
norm, and people make such decisions autonomously. Based on this premise, “Married at First Sight”
(distributed by Red Arrow International) launched in 2013, beginning its journey in Denmark before
traveling to a dozen Western countries. In this format, a man marries a woman he has never met to
see how long they can live together. If it doesn’t work out, they can divorce after one month. This
format can really only be sold in countries where marriage is seen as a contract that can be broken
without cultural stigma. Every format will enjoy a different reception—and different possibilities—
depending on the cultural aspects of the market. The formats that travel best have a universal quest
for a central theme.
Personal quests are universal. Everyone wants to be a hero, to overcome obstacles, and to triumph
in the end. This is the narrative—the possibility—you’ll find in most entertainment formats. There
can be variants, which are also familiar to us: The underdog who becomes a hero, for example. Less
universal is the setting and/or location of this personal quest: Whether you choose singing, business,
or the jungle, this small difference will ensure a format will not resonate the same way in different
markets. However, the desire to be seen and become famous is no longer a controversial ambition
in any country, because the phenomenon is so powerful.
E • An all-terrain format.
Broadcasters’ needs vary, depending on time slots, scheduling structures, target groups, etc. A
format will be more likely to travel if it is capable of adjusting to the client’s demands in length and
frequency. For example, in the US, “Masterchef” airs weekly and each episode is one hour long. In
the UK, Australia, and Denmark, it might air three to four times a week, also for an hour each. You
must be able to adapt your format’s size to broadcasters’ needs, which can include time slots, show
length, and budgetary constraints.
All-terrain formats last longer: “Big Brother” and “Who Wants to be a Millionaire?” were quite
expensive at outset; today they air on lower-budget niche channels as well as leading ones. In the
US specifically, “Who Wants to be a Millionaire?” went from event primetime to weekly primetime,
and finally to weekday daytime airing. Meanwhile, “Big Brother” airs weekly on the CBS network
during primetime, while in Germany or Sweden, it airs daily on channels with lower market share. If
your format is truly flexible and scalable, it should be able to deliver big ratings for big networks at
outset, then big ratings for smaller networks later in its lifecycle.
F • A renewable format.
A format has more value if it can be renewed season after season. In a scripted show, the cast
doesn’t change much from one season to the next, but the plots evolve (most of the time). In a
non-scripted format, the cast changes but the main plot changes very little. Variations may occur
in secondary plots. In your format, make viewers want to watch a different cast play out the same
story (or game) again and again.
G • A repeatable format.
The number of runs and reruns authorised for a format is generally indicated in the license contract.
Being able to repeat episodes is an economical asset for some broadcasters, and can therefore
increase its value. This is where studio-based game shows are interesting: You can keep watching
old episodes, any time of day or night. Even if people appreciate new episodes, repeats pay big for
money-tight broadcasters or producers. Your format thus becomes part of a library of ready-made
episodes that draw income on a regular basis.
A locally made production can be syndicated as a ready-made tape for other local channels in the
same country or elsewhere. This is often the case for comedy formats: You can repeatedly watch
“Candid Camera”, which surprises people on hidden camera, or any other prank show. But this also
presents a drawback for talent shows are presented as “live events”, such as sports competitions:
They’re less interesting once you’ve discovered who the winner is.
Shows that generate a lot of buzz have a limited life cycle; they must be watched right away, preferably
live, episode after episode, on a serialised basis, so viewers can talk about them afterward. A format
where each episode is self-contained has the economic advantage of being repeatable. However,
non-repeatable, big event-shows can also yield “big event” revenues.
H • A “spin-off-able” format.
A format’s value rises if its IP can spin several new brands off the original show. Offering variants
prolongs its lifecycle while maintaining the same general rules. Variants can include adult contestants,
child contestants, professional contestants, amateur contestants, famous contestants, former
contestants, champion contestants, losing contestants given a second chance, unknown contestants,
male contestants, female contestants, couple contestants, parent-children contestants, and regional
contestants vs. non-regional contestants, to name just a few!
In Denmark, “Masterchef” successfully spun off no less than 10 new formats, including a version in
which jury members became contestants. In Colombia, “The X Factor” spun off under a brand never
seen anywhere else: “Factor XF”, where contestants were duos from the same family.
Another potential revenue stream for the hit format owner—and in some cases the most lucrative—is
the ancillary product: Home videos, inflight broadcasts, apps, internet games, board games, CDs (a
natural extension for singing competitions), original music scores, magazines, recipes, various forms
of merchandising, etc. This includes licensed products of absolutely anything imaginable.
Programmes linked to mass consumption markets have enormous opportunities here. “Masterchef”
can potentially sell its license to many food industry advertisers, one of the most lucrative markets of
all. By creating a format in which an avenue for ancillary products is easy to imagine, your format
will be all the more attractive for international distributors, producers, and foreign broadcasters, who
will be eager to share this additional revenue stream with you. To make it worthwhile, it is critical to
negotiate for a good percentage. Format owners/licensors typically ask for 50% of all net receipts.
broadcasters. International groups buy third-party formats for their own local production companies,
and in some cases resell them to local independent production companies with the ability to bring
the format to life.
International distributors do their own research, scouting for the best available formats around the
world. Through their networks and local affiliates, they know a lot about what’s going on in the
territories in which they operate. They also stay informed through premium information resources
like thewit.com. Most companies acquiring third-party formats subscribe to TheWit.
Here’s a tip: Pitch directly to distributors and try to start a bidding war.
Some format creators also try to raise the profile of their formats before contracting an agreement
with a distributor by getting exposure at trade conventions like MIPCOM and MIPTV in Cannes. For
example, when presented at the much-attended Fresh TV conferences held by TheWit, some formats
get instant offers from distributors (and broadcasters) because of the publicity offered by the
selection … before even being shown at the venue! Others even promote their planned appearance
at FreshTV presentations to distributors, to get them to sign a distribution agreement ahead of the
MIP markets. Either way, it’s important to get a distributor attached and ready to sell your format
before attending trade fairs where you plan to make your format public. Otherwise you risk being
copied because the world will know about your show … and, of course, you’ll consequently lose
sales opportunities.
Selling a format abroad does not necessarily oblige you to localise it. But localising a few elements,
like the host and some twists, may help the format progress, both locally and internationally. You
must define the level of localisation you’re willing to allow. It is about knowing what can change,
what cannot change, and the degree of risk involved in making specific changes. If you localise well,
you may increase the value of the format.
As previously mentioned, your format should be universal and culturally neutral. You have removed
from it any overly explicit reference to local traditions or behaviors you know are not interpreted the
same way all over the world. Theoretically, in such a case, there is no need for localisation. Secondly,
your format bible and license should clearly establish rules to follow for a local adaptation. Any
deviance from these guidelines cannot occur without your authorisation.
...because you strongly believe that your format only works the way you created it, and airing it
on your domestic market taught you lessons you now want to transfer to your licensee. You are
experienced, you are a professional, you know better than anyone how your creation works. You know
what works and what does not. Everything in your format must be important, like each piece of a
jigsaw puzzle. If you admit an element is less important than any other, your format loses legitimacy
and market value.
For example, Talpa Global asked judges in local adaptations of “The Voice” to talk about “artists”
instead of “contestants”. Why? To increase the value of the voices, and emphasise the quality of
the casting and performances, which are central to the format. In this case, they differentiated
themselves from other singing competitions by showing respect to contestants. This is part of the
identity of the format.
If an adaptation artistically moves away from your standards for budget reasons, and gives up some
production value, the whole image of your brand might be affected. You want to maintain international
standards. If standards are not respected in one territory, and the adaptation is a failure, the global
value of your brand will decrease. It is also in your interest to ensure that your licensee does not
change any aspects, and that they use the software, technology, logos, music, questions, etc., that
you intellectually own instead of developing their own resources behind your back.
Everywhere in the world, Talpa Global acts as the sole provider of building plans for the rotating chair
of “The Voice”. It is not up to the local licensee to create a new model they could later market as a
by-product. Selling a format is a transfer of expertise as well as technology. Maintaining the same
level of quality and selling an identical product everywhere generates better profit.
The 2015 game show format “Babushka” (distributed by Armoza Formats) centered in its title and
concept around giant wooden Russian dolls that have to be opened to win money, or not. The first
local version of the format was made in Turkey, where they replaced the Russian dolls with giant
cooking pots that are typically Turkish, holding other pots inside.
What is it about the format that remains distinctive? Its mechanics. However, it lost a major part of
its distinctive visual identity (and title). Now, at first sight, it looks more like older game shows, like
the 2000s hit “Deal or no Deal” (distributed by ESG), where players had to open the right suitcase
or box in order to win a prize.
contestants. Contestants’ character types may be cloned all over the world, from one country to the
next, even if strong character variants emerge.
The host’s personality, even if it isn’t very distinctive, will, without fail, add colour to the format. The
host always localises. They are visible, identified, and, by nature, love to steal the show.
The local host may inspire new format developments.
In the US in 2010, comedian Steve Harvey started hosting the local version of classic game show
“Family Feud” (distributed by FremantleMedia, first US version in 1976).
His personality and hosting style emphasised the comedic side of the format and enlarged its
potential; some international broadcasters now want do a US-style comedic version, while others
want a less funny adaptation. The format’s value has doubled!
you must remove segments or invent new ones. To do so, you can increase the number of contestants,
or spend more time on some moments. You talk more, explain more, or, on the contrary, get straight
to the point.
By varying the show’s intensity, the format changes. It becomes more or less talkative, music-driven,
dramatic, emotional, and so on. Depending on their needs and success, broadcasters may ask to
reduce or increase the number of episodes, or change the frequency from weekly to daily. Can the
suspense from one episode to the next hold if you have to wait one week instead of one day to find
out what happens?
Having a format air in several countries for a long time is a format creator’s dream. For each episode
aired, they get license fees on the licensee’s production budget (~7-10%) and a generous share (~50%)
of the ancillary rights, minus distribution rights (~30%), if any. Without added risk, it is a guaranteed
annuity. This is rare, but possible. How can it be achieved? Is there a secret “fountain of youth” for
formats? Do they have to undergo facelifts? If so, which ones ... and when?
For example:
• The game show “The Price is Right” (distributed by FremantleMedia) has been on air in its current
version since 1972, following a previous version launched in 1956. The brand has existed for 60 years!
• The adventure game show “Survivor” (distributed by Castaway International) has so far enjoyed
more than 30 seasons on CBS.
• “Big Brother” (distributed by ESG) has so been on air for more than 17 seasons on CBS.
What is the secret to the longevity of these examples? It’s simple: For all of these formats, you can
describe their concept in a single sentence. The concept stays the same, though alterations have
been made with time: New players, or twists may have been added. In most cases, viewers haven’t
noticed the changes and will likely never remember them. The changes do not change the nature of
the format. This means that the fundamental reason viewers are drawn to these shows remains intact.
If your format works, don’t change it for the sake of change. Change aspects of the design, setting, or
elements of the mechanics if absolutely necessary. Modifications made in formats are usually meant
to reassure the producer, broadcaster or distributor, usually to keep them fresh, like an anti-ageing
beauty crème. Are such crèmes actually useful? Micro-modifications can create twists and turns in
the action ... but they must not change the main plot. TV viewers hardly notice a small update. And
in any event, they shouldn’t; it would destabilise their viewing experience.
In the UK version of “Got Talent”, as early as season 6, a “wild card” was introduced, enabling one
eliminated contestant to be in the finale: A major turn of events! A second wild card, chosen by the
audience, was added in the ninth season. With the same objective, a “golden buzzer” that introduces
a break in the contestants’ casting, and a powerful dramatic question, was introduced in the sixth
season of the format in Germany in 2012, and in the eighth season in the UK in 2014. It appeared in
a different form in the same year during the US’s ninth season, then slowly progressed into other
versions (in France, for example, under yet a different form, in 2014). Less important for the drama,
but critical for marketing (to attract celebrity judges’ fans), the number of judges sometimes oscillates
between three and four.
B • You cannot save an ailing format with twists and modifications. Instead, you risk
hastening its death.
TV viewers know why they watch a format. They could not care less about some producer’s new
twist. Viewers either like or dislike the feeling they get while watching, and have no reason to invest
emotionally in a last-minute enhancement; they’ve already changed channels. Game over. When a
TV viewer leaves, it is difficult to get them back. The trend is gone. The brand no longer has the
same attraction. Since a hit is not a 100% guarantee of success abroad, a drop can’t solely explain a
drop in ratings in effectiveness. There is also context: The competition that influences the format’s
attractiveness. A format cannot do everything; modifying it will not save it.
In 2013, when the US version of “The X Factor” format encountered difficulty after two seasons, its
“Boot Camp” and “Judges Home” components were dramatically shortened to make room for a
formula called “Four Chair Challenge”, which was first introduced in the Dutch version of the series.
It did not prevent the Dutch and the American versions being canceled the same year.
The same year, the innovation was introduced in the British version, which was also experiencing
difficulties. Despite other last-minute innovations, the format still declined in 2015. The format is
probably less to blame than growing competition in all international markets from “The Voice”, which
made “The X Factor” look aged or gave it the air of a copycat.
C • A format is not an accumulation of twists. If you add too many, you may lose your
core vision.
Even after adding modifications to “Who Wants to be a Millionaire?” in the US, including several
changes of the host, the show is struggling with dropping ratings. In 2015-2016, the producers
decided that their best move would be to return to the classic format, thereby bringing back the
drama, tension, and increasing levels of difficulty as the game progresses. The producers understood
that the show’s format needed to return to what made the format successful at the very beginning.
A format, even an old one, is a brand, and it is tempting to want to keep exploiting it. The complete
makeover is easier when a show is no longer on air, versus when the show is being fully exploited.
It can come back in pristine condition and become a full-fledged new property.
In Australia, “Who Wants to be a Millionaire?” left the air in 2007, after its last version introduced
unsuccessful format modifications. Then, in 2009, the Nine Network launched “Millionaire Hot Seat”,
a reformatting of “Who Wants to be a Millionaire?”: It’s faster and shorter, inspired by a twist tested
the year before, in the Italian version. This spin-off was later adapted in many countries. It still coexists
on the market with the classic version. The spin-off prolonged the life and revenues of the original.
“Masterchef” (distributed by ESG) has had several versions. The third formula turned “Masterchef”
into one of the most-sold formats in the world, catapulting its production company into the global
big leagues. The first “Masterchef” launched in the UK in 1990. It morphed into “Masterchef Goes
Large” in 1995 before taking back the name of “Masterchef”, still aired only in the UK. This is the
version that British viewers are still watching. In 2009, Australian channel Ten adapted and updated
the format by giving it a more competitive dimension, in the spirit of talent shows. The rating success
was such that it was this Australian version that was sold worldwide afterwards.
Only the brand—which at the time only existed in the USA and in Australia, where the BBC version
was aired in the form of ready-made tapes—and the notion of competition between amateur chefs
judged by professionals, were kept. The rest of the format bible was new. This brand and idea had
never been seen in most countries. It was innovative in the eyes of almost the whole planet. There
may exist formats whose original idea was underexploited and that could be adapted to current
trends. You could try to buying one, and turn it into something completely new.
Beware of format reboots.
You may be tempted to re-launch a format left dormant in a format library. Maybe you’ll even attempt
it to put it in the same market it once aired in.
From the start, it has no novelty (unlike “Masterchef”, which, when it relaunched, had up until then
only been exploited in English-speaking markets), and plays on nostalgia; you are trying to attract
viewers from the past who loved it, as well as new viewers who have never seen it. It is risky. The
viewers might be old (unattractive for broadcasters and advertisers in most countries), and younger
viewers will judge it as a novelty, with no particular respect for its career. This means you have to be
retro enough to interest old viewers, and modern enough to interest young viewers. Tricky. Young
people like young things; they’ve likely already seen something similar that better addresses their
needs than the old format you want to relaunch.
F • The best way to help your format thrive is to sell it in as many countries as you can.
Innovations and twists often stem from foreign productions of your format that tested new things,
based on their personality, or the knowledge they have of local viewers. The licensees of your
format abroad are an incredible creative reservoir; they are producers with a passion for your idea
that can see things from a different point of view. The biggest international format groups (ESG,
FremantleMedia, etc.) exchange different versions between producers, build idea boxes, organise
international brainstorms, collect databases of challenge rules and twists, and so on.
In such cases, format bibles become collaborative pieces of work, and thus a global format bible emerges.
Help your creation travel. In return, it will infuse you with inspiration for your next format!
The Wit’s FreshTV is the trendspotter and trendsetter of international tv and digital content.
We provide producers, broadcasters, distributors, advertisers worldwide with the best
information about the best tv and digital content, projects, developments and programs.
We do this via daily newsletters, reports, videos and 24/7 databases.
We help our subscribers decrypt and anticipate the market, innovate, get inspired and acquire
the most exciting IPs.
To know more, please contact [email protected].
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