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Selling Your Documentary To Cable

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By John Jackman
VP, Comenius Communication, Inc.

One question I am often asked is how to go about selling a documentary to The History Channel or Discovery or PBS. The question usually starts out asking whether DV is “good enough” for these venues; the questioner then proceeds (with dollar signs in eyes) to speculate on how much they could “get” selling a doc to one of these channels. I really dislike this question, because I hate to rain on anyone’s parade. But they are asking for the legitimate answers, so I don’t sugar-coat the answers.

The answer to the initial question is that yes, DV is “good enough” for the big time. There are a lot of shows running that were shot on DV. ITVS, one program funding arm of PBS, has a category of funding specifically for DV programs. But that’s not the whole answer. The hard part is that DV is good enough – if you are good enough. Of far greater importance are production values, careful lighting, good audio, finesse in editing, and skill at storytelling. It ain’t the format, friend, it’s the skill with which it is used.

OK, the format is good enough. (Editor’s Note: Some shows are requiring HD.) OK, you’ve learned your craft and your production values are up to par. How much can you sell your doc for? One answer I could give is “it depends.” But the blunt answer is “not much.” Docs are not like wedding videos or industrials. In most cases, the “client” is not going to pay full freight plus a profit.

Making a great documentary is tough enough. But the documentary business is even tougher. Low budget docs are unlikely to make the grade unless you’re a real genius or your topic is so hot nobody can turn you down. Even pinching pennies, if everyone working on the doc gets paid something reasonable, and you buy all the appropriate insurances (you did buy E&O – Errors and Omissions Insurance – didn’t you? See How To Buy Video Production Insurance) and all the graphics and other visuals are properly licensed (you didn’t pilfer any stills from the internet, did you?) it’s quite easy to spend $100,000 creating an hour long doc. Remember, you’ll have to certify in writing to the broadcaster that you have full legal right to use every frame of video and every measure of music. Of course you can do it for less if you keep your day job and everybody volunteers their time, but you’ll still have some pretty large hard costs that can’t be reduced.

When selling a finished doc to a broadcaster, you aren’t really “selling” it at all, you’re licensing them certain broadcast rights for a specified period. Very rarely will a channel buy full rights to a finished program that has been brought to them. You will continue to own the intellectual property. Say you spent $100,000 to make a doc on the world’s largest widget collection. It’s interesting, production values are good, and it fits in the profile of The Widget Channel.

So you do a deal – for example, they have exclusive first-run rights for two years, during which time they can run the program as many times as they want. For this they pay you a license fee of $10,000. That’s right, $10K. If you’re lucky. Since The Widget Channel is new and only has a smaller audience, it might be $2K. But even with the big guys, it is unlikely to be higher that $10,000.

So how can you make your money back? By selling the program again and again to multiple markets.

Sell to other broadcast markets: Every country is sold separately in most cases, since their television networks are national. License fees will vary from country to country.

Sell to cable/satellite outlets: Some of these are huge, other networks don’t have many more viewers than a big local station. License fees will vary accordingly.

Get a distributor: unless you’re ready to go into the retail distribution business, find a DVD distributor that specializes in your topic or type of program. The distributor may be willing to give you an advance on royalties as part of the deal. This will be based precisely on the distributor’s guess as to how many DVDs they will sell. It may be as high as $10,000 or as low as – well, nothing. Royalties will also vary, typically from 10% to 20% of actual sales price. Bear in mind that means the price the distributor gets, not the list price. Some distributors operate a retail website, but many sales are also to bookstores and other outlets where they sell at wholesale. If you have a popular topic that is suitable for mass market (Target, Wal-Mart) find a distributor that specializes in that placement. Here’s the harsh reality: the DVD will probably retail for $9.95, and Wal-Mart keeps half of that. You’ll probably see only 50¢ from each DVD.

Sell to distributors in other markets: first find DVD distributors in other English-speaking countries. Focus on areas where there is an audience for your topic or type of show. Then look at non-English speaking countries. Since the distributor will have to foot the bill for translation and subtitling or dubbing, advances are likely to be lower or nonexistent.

Try to negotiate a DVD sales tag as part of broadcast deals. You know, “You can buy a copy of the program you’ve just seen (because you were too dumb to slap a DVD in the player) for only $19.95 plus $75 shipping and handling.” This will typically have to be part of the program running time, and some networks won’t do it. Others will want a hefty slice of the DVD sales revenue, or will insist on distributing the DVD themselves. However, the “tag” is free advertising every time the show runs, so try really hard to get this. Make sure the DVD distributor is up and running before the program and the sales tag are broadcast! Don’t laugh – it’s happened more than once!

Sign up with a documentary distributor who will do all of the above for you. The doc market is quite limited, and these guys basically know everywhere they can sell one and how the deals are done. In exchange for their work and knowledge, they’ll keep a goodly chunk of all the license fees. But on the other hand, do you know where to sell a documentary in Brazil?

Please don’t go to any broadcaster or distributor until you’ve checked to make sure that your idea is in their “profile.” Every network and every distributor have a type of program they deal in. Don’t take you vampire flick to The History Channel and don’t take your educational video on oral hygiene to Kultur/Whitestar Video. They’ll just think you’re an idiot (they’ll be right!) and won’t take you call next time.

So don’t these channels ever pay the full cost of a doc? Sure they do – mainly when it’s their idea. And then they’ll go to the small circle of tried-and-true production companies they always use. You have just about zero chance of breaking in that circle. The network has absolutely no reason to take a chance on some untested but enthusiastic newbie. Hate to be blunt, but that’s the way they see it.

You have a better chance of selling them a program concept. Say you have an idea for the best doc ever – and you have developed special access to the subject, or knowledge of the topic. If you just go make it and bring the finished product to their door, they’ll pay you $10K tops. Why would they do otherwise? There it is, in the can and you hopping on one foot to get it broadcast. They don’t have to buy the silly thing!

But – if you bring it to Discovery or The History Channel in its concept phase and pitch them the idea, you might have a chance. It had better be a really spiffy idea, one that you are uniquely qualified to produce. Otherwise, (trust me on this) they’ve already had twelve similar proposals, had thought of it themselves already, and have one of their trusty inner circle working on it. In that situation, they don’t need you or your idea. But if you have unique knowledge of the subject, or special access to the subject that you have cultivated, you may have a chance. All networks like to be in from the beginning so that they can shape the program to their needs. (Translation: expect compromises!) Here’s where you have a chance at full funding. But if they fund it fully, they will usually want to own it and kiss you goodbye. You should think long and hard before doing that. You want to retain part ownership of the intellectual property.

If you do not have a broadcast production track record, you’ve little chance of receiving full funding and being in charge of the production. More likely they’ll team you up with one of that “tried-and-true” circle to do the production. Or they’ll let you do it under the watchful eye of a trusted executive producer who will eat up a large chunk of the money.

Much more common today are co-productions. This is where (for example) A&E funds 1/3, BBC funds 1/3, and the producer funds the other 1/3 through investors. Or make up some other combination, the sky’s the limit.

One last sad and difficult note. If you had your eyes on PBS, you have a lot of work cut out for you. As one Hollywood producer said to me recently, “There’s no upside to it.” PBS expects you to come to them with your program fully funded in most cases, and the politics are byzantine. If you approach through your local PBS affiliate, don’t be surprised if they demand a slice of all your funding “to get the program through the hoops.” Your best chance here is to go through one of the funding programs like ITVS (www.itvs.org) or cultivate deep and meaningful relationships at your local public television station.

Good luck. Remember, a great program and perseverance wins out!

Editors Note: Don’t be discouraged. There are some very profitable markets for documentaries in educational and other markets. See my book Secrets of Producing and Selling Successful Videos. Now is the best time to be selling your own special interest videos on the Internet.

7 Comments »

Hi,

I’d be interested to know the names of the tried and true, small circle of prodcution companies that have some success getting their documentaries submitted.

Thanks,

Dave

Comment by Dave Chambers — August 8, 2009 @ 1:20 pm
Very insightful article. Having produced a huge number of documentaries, some world firsts and unusual specialist subjects, I have found that marketing them is a nightmare for me. My agent does all that for me. I self fund every documentary and license the broadcast, I never sell the material outright. I also tend to be a loner, I rarely have crew with me, I tend to do my documentary shooting on my own. In many cases, not having a crew is less intimidating to subjects who may be freaked out by cameras & people. I do all of my own post production and audio, luckily I have the facilities to hand in my own studio. I used to shoot on Betacam, moved to D-9 and now shoot on HD-PRO. Luckily I have also established a line of stock video material which sells quite well, and allows me to do what I want. Additionally, I keep all of my footage in a data base and have around 9000 hours of material quite a lot of which can be used to support current projects. I also have equipment which I rent out to other film-makers which helps subsidise my own stuff. But my only advise to anyone attempting a documentary for broadcast, make sure that your script and the information contained therein is accurate. And acknowledge every source that helped you with the information.

Comment by Paul Mills — August 10, 2009 @ 1:17 am
I am from India, I made some docs and wanna give for brodcast but yet I cann’t find an agent.
Is anyone there for me?

Comment by patanjali — September 8, 2009 @ 12:47 am
We are self-producing a feature length documentary. Can sales agents do pre-sales for us to find finishing funds? Any other finishing funds suggestions?
Thanks,
Dianna

Comment by Dianna Perez — September 30, 2009 @ 11:09 am
Let it be known that although the article above has provided broad insight into the world of broadcast media; which is especially helpful for someone like me who is just entering the field, I cant help but feel that the industry is changing rapidly. Now, you say that I am only an amateur, which is true, but may be considered an expert when it comes to watching film. My point is this, the reason I chose to pursue this path is to try and help save the beyond pathetic excuse for programming which now resides. I am especially frustrated with the history channel, because now days they are actually playing documentaries on “monsters,” and ironically, vampires are included under the category of “monsters.” Whats even worse, they actually hunt for these “monsters!” All I can say is wow, are they that desperate for some quality/ meaningful programs? So with that said, I believe that the market is unstable and unpredictable. But, the creative mind thrives in such environments. I am going to make a quality documentary on a subject other that aliens, monsters, or nastradamous effects, etc… Good lord, give me a freaking break History Channel- Monster Quest?

Comment by zach — December 28, 2009 @ 5:47 am
Paul Mills, is there anyway I can reach you, the comment you left is very intriguing. please let me know how to reach you.

Comment by Gehad — January 28, 2010 @ 1:38 pm
Hi, I’m a documentary sales agent. I can’t offer finishing funds or pre-sales (this is almost impossible) but I am always on the lookout for new producers to work with and documentaries to license. If you have a film you’d like pitched to international broadcasters please get in touch with info about your film and the territories available. Thanks and best wishes, Kas – kazzbasma@hotmail.com

Comment by Kas Basma — February 6, 2010 @ 7:32 am