Reality shows give the impression that they’re writer-free. After all, these shows are about real people, right? Real people don’t need writers giving them dialogue or dramatic action to perform. Right?
These shows may not be scripted like a typical sitcom or hour-long drama, but that doesn’t mean the writer’s out of work just yet.
All reality shows have structure: beginning, middle and end. Just like a story. American Idol begins with tryouts across the country. Supernanny opens with a dysfunctional family in desperate need of help. Extreme Makeover introduces a family dealing with a crisis, and a crumbling house. It’s the setup. It introduces the scenario, the characters (real people) and the promise of the premise: That what we’re seeing — a contest, a renovation or a quest — will be resolved in some satisfactory manner. The middle is the meaty part, as real people compete for some reward or react to the kindness of other humans. That’s the kind of stuff that fuels breakroom discussions at work. The end is the final round, the last competition or the big reveal.
All reality shows have characters: they’re called “people.” The single mother who always dreamed of singing in front of audiences. The overweight teenager who will die before he’s 21 if he doesn’t lose two hundred pounds. The overworked father who’s in it for his kids after losing their mother to a fatal disease.
They’re not just people like you and me, they’re people we wish we were. And the writer can help identify those people types who, when put together, make for interesting television.
Think about it: Most reality shows have a villain. It’s the contestant despised above all or disliked for their Machiavellian maneuvers. Even Extreme Makeover features a type of an antagonist. In this case, the villain is the bullet that took the life of a spouse, or the car accident that crippled a young girl.
As fans of good characters, we like to see character growth. It’s the same when we look at participants on reality shows. The single mother makes it to the finals and scores a record deal. The overweight teenager loses the 200 pounds and gains a new outlook on life. The overworked dad wins the ultimate reward at the cost of pushing himself to extreme limits. We see these people struggle. We see these people overcome. Just like Luke Skywalker, Indiana Jones, Jerry Maguire and Buzz Lightyear.
Writers can help develop reality shows by making sure the show has what most people want. It’s structure that involves high emotion and moving drama. It’s characters like us, engaged in conflict. It’s the satisfying payoff or resolution. The writer may never script dialogue or stage direction, but the writer can recommend which dramatic scenarios will offer the most impact, or suggest which candidates make for good television from a dramatic perspective.
Next time: What a proposal for a reality show should include.
About The Author
