Game Show Storytelling Framework

Defining Formats

• TV formats are a method of production, a licensed remake, a recipe, and a proof of concept.
• A format is a recipe for making remakes.
• Format trading sells remake rights to enable buyers to create a local remake.

Topics

• A TV format as a licensed remake, recipe, proof of concept, method of production, and three paradoxes of production.
• Categorizing non-fiction formats using the 3 C's.

Format Rights

• Format rights give the right to license third parties outside of the primary broadcaster's territory to develop and produce new programs.
• Format rights include the right to authorize third parties to distribute, exhibit, perform, broadcast or otherwise exploit those programs in specified territories.
• Format rights include the right for the distributor to exploit programs in any media worldwide.

Questions 1-4

• Question 1: A TV format is primarily compared to a recipe in format studies.
• Question 2: The primary purpose of a TV format is a guideline to making remakes.
• Question 3: Format rights include the right to license third parties to produce new programs outside the primary broadcaster's territory, to distribute the programs in those areas, and the rights for the distributor to exploit those programs in any worldwide media.
• Question 4: Ancillary rights cover the right to sell or license extracts from a program for inclusion in other programs or media, or to exploit the program across any media using merchandising, interactive & multimedia, or theatrical rights.

Legality of Formats

• Scripted (fiction) formats are easier to protect against copyright infringement because of their storylines and characters.
• Reality (non-fiction) formats are harder to protect.
• Industry experts suggest non-fiction formats need to be treated as stories to prove copyrightability and address the relationships between the characters.

Question 5

• Question 5: Industry experts believe non-fiction TV formats should be recognized for the stories that they convey because they are analogous to books – meaning they include intellectual property (i.e. characters and relationships) that extend beyond simple words on a page.

Non-fiction Formats as Storytelling

• Non-fiction formats like Supernanny, Faking It, Wife Swap, The Apprentice, Secret Millionaire, and Grand Designs follow the five-act structure of classical Shakespearean plays (exposition, rising action, climax, falling action, resolution).
• Reality TV's story structure mirrors Shakespearean plays, with clear acts, a setup, build-up, climax, and resolution showcasing triumph or loss.

Classic Shakespearian Shape

• The five-act structure involves Exposition (Act I), Rising Action and Complication (Act II), Climax (Act III), Falling Action (Act IV), and Resolution/Denouement (Act V).
• A 3-act structure would include Setup, Confrontation, and Resolution.

Why Classic Structure?

• Symmetry and balance, emotional journey, and universality.

3-Act Structure Applied to "Who Wants to Be a Millionaire?"

• Act I: Setup - introduces the contestant, the rules of the game, and easy questions.
• Act II: Confrontation - raises the stakes, uses lifelines, and the climax is a critical decision to either risk or take a guaranteed payout.
• Act III: Resolution - reveals the correct answer or the decision to walk away.

Hero's Journey in TV Formats

• Ordinary World - the hero begins in their everyday life.
• Call to Adventure - a challenge or opportunity arises.
• Refusal of the Call - the hero hesitates or doubts
• Meeting the Mentor - the hero gains guidance or tools.
• The Hero enters an unfamiliar world or situation
• Tests, Allies, and Enemies
• Approach to the Inmost Cave, etc..

Format Points

• Format points include piles of cash, particular tasks, special features, the elimination process, etc.
• The elimination process creates drama and keeps viewers engaged.

Universal Format Points

• Teaser open, commercial cliffhangers, dramatic music cues, recurring catchphrases, participant reactions, conflict/resolution arc, closing montage.

The Elimination Process

• Creates dramatic tension due to uncertainty, escalating stakes as the number of contestants decrease.
• Emotional investment for viewers due to viewer-contestant relationships and underdog arcs & drama.
• Drives viewer engagement and interaction through audience participation, social media buzz, predictions, etc.
• The elimination process provides a clear structure, paced for emotional intensity.

Universal Trigger Moments

• Dramatic audio cues & editing.
• Split-second reactions (capture emotions).
• Cliffhanger before commercial breaks.
• Host interventions.
• Rule-breaking consequences.
• Audience participation dramas (audience reactions, votes, etc)
• Heartfelt goodbyes.

Question 6

• Question 6: A common feature of non-fiction TV formats that creates dramatic arcs and storylines are Format Points.

Risk Management

• Formats are based on initial willingness and depend on ratings data to determine if the format is sound in similar markets.
• Ratings data helps manage risk for broadcasters.

Question 7

• Question 7: Ratings data management manages risk for formats.

Format Bibles

• A format bible is a detailed guide containing everything needed for production.

Definition of Format

• A format is the structure of a show, that is licensed to be adapted in other countries.

Format Bibles: Material

• Format bibles contain two types of material - materials that can be altered, and materials that cannot be altered.
• Consultant producers oversee new productions using the format bible to guide them.

Question 8

• Question 8: The role of a "format bible" is to provide a detailed guide for producing the show to include budgeting and casting procedures.

Three Paradoxes of Non-Fiction TV Shows

• Paradox 1: A format is generative (not just descriptive), which guarantees a story.
• Paradox 2: A format lends itself to repetition without replication by bringing in real people.
• Paradox 3: A format is predisposed to adaptation because constructed reality can be easily transferred to different locations.

Constructed Reality

• Events, interactions, and storylines are curated by producers to heighten entertainment value.
• Pre-designed scenarios, selective editing, and guided interactions create a distinctive narrative.
• Characters are often cast to embody specific personality types.
• Ordinary situations are often exaggerated.

Ethical Considerations

• Presenting constructed reality as authentic can have ethical implications.

Question 9

• Question 9: The key characteristic of non-fiction formats that makes them adaptable to different locations is constructed reality.

Non-fiction TV Format Concepts

• Questions to ask when developing a format concept: What visual and audio elements should it have? Who are the characters and/or personalities? What is the structure?
• What are the subcategories related to the main format?
• How to Categorize Non-Fiction TV Formats?
• Three Cs.
• Concepts that address some of the aspects mentioned by the user or the professor.

What do Formats Need?

• A hook (insight that garners interest), a driver (something sustaining through the format), and underlying tension (element throughout a show).

What Lenses can We Use to Shape Formats?

• Competition formats, change formats, and choice formats.

What are Competition Formats?

• The main principle of competition formats is who will win, using a pass/fail device.
• Examples include quiz shows, talent shows, and other shows that use competition within the structure.

What are the Sub-Categories of Competition?

• Several different subcategories are used to frame different types of competition-based TV formats (ie. survive something, make something...).
• Some examples include: survive something, make something, perform something, enclosed word, and other people's lives and quizzes.

What is the Primary Principle of Change Formats?

• The primary principle behind change formats is that someone or something is transformed through the format's structure.
• Examples that use change as a format include: house makeover shows, personal transformation shows, business improvement shows, and object restoration shows.

What are the Sub-Categories of Choice Formats?

• These formats highlight decisions as a key element in the program's structure.
• Sub-categories in choice formats include romance choices, bargain choices, and business decisions.

What Makes Choice Formats Unique?

• Often feature individuals making decisions which have consequences.
• Examples might be based on relationships, shopping, and/or business.

Preparation for Next Lesson

• Decide on a classic American TV game show to update.
• Look at clips of Japanese-style TV game shows.
• 3 conceptual remakes for the pilot.
• Each concept for a different target audience, and details.

Assignment

• Compare Hero's Journeys in TWO non fiction TV formats.

Explore the narrative elements of game shows and reality cooking competitions through the lens of the hero's journey and three-act structure. This quiz covers crucial concepts like the 'Call to Adventure', climactic moments, and the emotional engagement of viewers. Test your understanding of how these frameworks enhance storytelling in competitive formats.