Green Light, Red Light

The network loves your show. The executives see the total package potential. It is moving forward into development, but what happens next. What do you get? What do you do?

The network loves your show.  The executives see the total package potential.    It is moving forward into development, but what happens next. What do you get?  What do you do?

If you are lucky to be in this position, the network is going to negotiate with you (or your lawyer, which at this stage you need) for all of the rights to this series.  If you filed for copyright, you will have your attorney help you to sign it over.  If a trademark is in process that, too, will be signed over. But what are you going to get out of the deal.

You will get some cash.  Maybe not a whole lot and it will never be worth what you think it is worth or this sum might not be as much as you have invested in it.  But the networks don’t want to slam bang and send you off with a thank you. They usually want the heart and brains behind this investment as part of the team.  This means you get a job and an office on the lot, like Dan Povenmire and Swampy Marsh got at Disney so they can work on “Phinneas and Ferb.”  Or if you have a studio, you might get the contract to produce the series in your own house for them, just like Klasky-Csupo did for their show “The Rugrats.” 

What a cool position you are in.  You can watch your project grow, pamper it as it grows and you will get a salary, benefits and perks.  But what happens when it is huge hit. What do you get?

Jan Nagel's picture
Jan Nagel, Entertainment Marketing Diva
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