Kary McHoul Shares: How to Pitch and Get Your Show on TV

Have you ever wondered why some shows make it on TV and others don't? Maybe you have an idea for a show or you've been fortunate enough to meet with a programming executive. If so, you want to know how to present your ideas or if you did present your ideas, why did they pass on it? Kary McHoul is the President of Nigel Lythgoe Productions. As President, Kary's role is to pitch, develop and executive produce new shows.

Kary began her career after moving to Los Angeles for an internship when Jay Leno took over "The Tonight Show." Following her stint as an intern she took on a position as an Administrative Assistant at Fox in the Alternative and Comedy Development Department. Kary's responsibilities grew as she progressed in her career and she eventually landed her first executive position at Warner Brothers Studio. She then went back to work at Fox as the Director of Development in the Alternative Programming Department. Kary was promoted to Vice President at Fox where she developed and oversaw production on "Family Guy," "Titus" and "Temptation Island." Kary was lured by E! and Style Networks to head up development where she created and was responsible for "The Anna Nicole Smith Show," "Clean House" and "Whose Wedding is it Anyway?"

Kary later returned to Fox as Senior Vice President of Alternative Programming. She oversaw a string of hit shows such as "Hell's Kitchen," "Kitchen Nightmares," "Nanny 911" and "American Idol." She then expanded her career when she decided to make a change from Programming and co-headed the Alternative Programming Department at United Talent Agency representing production companies, producers and on-air talent. Always expanding her depth and knowledge, Kary decided to start her own consulting company where she advised distribution companies, cable networks and management companies on maximizing their content and brands.

In May 2011, Kary was tapped to head up Nigel Lythgoe Productions as President. Nigel Lythgoe is the renowned television producer, choreographer and personality. Nigel will receive the prestigious 2011 International Emmy Founder's Award in November. Past recipients include Steven Spielberg and Sir David Frost. Kary talked with me about the reality of getting a show on air, television programming and how she balances it all.

Q: You've had your own consulting business, been a programming executive at the networks and cable and co-headed the alternative department at United Talent Agency. If someone is seeking a career in programming what is the best way to break into this field?
KM: You have to work really hard and stay focused. It's important to do what you're told and be willing to go above and beyond. Offer to get lunch or do things that aren't in your normal duties to assist. I washed dishes at a PR company. The small things I did fortunately didn't go unnoticed. It's important to be passionate about your work. I love TV. If you don't love it then do something else.

Q: When people walk into a pitch meeting with you, usually they are nervous. How should one prepare and what advice do you have for someone fortunate enough to meet with a programming executive?
KM: People tend to be more nervous when pitching at a network. It's a relaxed environment at a production company. The best way to get an actual pitch meeting is to be referred by someone in the business. When you are pitching to a buyer remember they are hearing a dozen pitches a day. Your project is really only important to you. The most important thing is that you need to be passionate about your idea when pitching and ensure your i's are dotted and t's are crossed. There are a lot of different options, if you have a great idea that could crossover to fit on a different network. If you're not ready to present your ideas don't ruin your chances by being unprepared. You probably won't get another opportunity. A pitch meeting usually lasts under an hour. Also know when to leave the meeting and don't overstay your welcome.

Q: You've green lighted countless pilots. What elements does a "perfect pitch" contain?
KM: A good pitch is like lightening in a bottle. It's the right show, at the right network and fits the current trends. A lot of it is gut. When a pitch is right it comes together like magic. The contestants, the rules and the people all fit. If your show has that "magic" a programming executive will fight for your show to get it on air because we'll be as passionate about the project.

Q: It seems that programming goes in cycles such as game shows and reality shows. What is currently in "demand" or the "next big thing" for television?
KM: What's in demand now on cable are shows that are authentic and interesting. For example, family businesses, noisy characters, high end or blue collar type shows. That's why shows like "The Real Housewives of Beverly Hills, American Pickers and Pawn Stars" are so successful. They fit the unusual, extreme and interesting trend.

Q: How many pitches do you hear in a year? Of that number, how many would you estimate actually get piloted or make it to air?
KM: When I was a buyer I heard 6-10 pitches a day, 5 days a week approximately. That's a lot of pitches in a year. Of the numerous pitches few were piloted or actually aired. It's just the reality of supply and demand. That is not to say it's impossible. A lot of shows were piloted and did air. If you're pitching a show there are more opportunities to get your show on cable versus network. Cable has more slots available for year-round programming. A network has seasons. The networks have much less "real estate" especially in the scripted world. You may start with 75 scripts, which gets cut down to 12-14 pilots which boils down to 3 actual series. That's a lot of time and money for the networks.

Q: We hear programming executives say that they want something new and fresh, but the perception is when a new idea is presented; it seems that network executives often want to go with the tried and true. Why is that?
KM: Cable has been paving the way in alternative programming and you see TLC and The History Channel doing different shows like "Deadliest Catch" or "Ice Road Truckers." Bravo really led the pack with the Real Housewives franchise. Cable used to be a bunch of homemakers. That has totally changed. Programming is a system and it's hard to change the system sometimes. The networks saw how many viewers the cable channels had taken away and they are loosening up a bit to be more experimental. You're seeing shows on cable that never would have been on air before. Cable has had so much success with these shows that they've made a big impact on the networks. You're now seeing the networks taking risks to produce shows that have typically fit the recent cable trends. While it's expensive for the networks to produce shows, they see the success that cable has had and they want those viewers back.

Q: You've had a successful career with your own consulting company and with the networks. Do you think that there are more opportunities now for women? If so, where do you see the biggest area(s) of growth?
KM: There are definitely more opportunities for women overall, especially in the last 10 years. I used to be the only woman in a meeting when I first started. As women we all need to help and support each other.

Q: What mistake(s) did you make in your career and what did you learn from it?
KM: Nothing is a mistake if you learn from it. I learned that if someone promises you something; ensure that you get it in writing. If it's not documented then it doesn't exist. I was promised something early on in my career and I didn't get it in writing. As a result, I didn't get what was promised to me. Lesson learned. If you're negotiating a contract regarding your show and the person tells you that X, Y or Z will happen, make sure it is documented.

Q: What are some of the shows you have slated for 2011-2012 that you can discuss?
KM: A game show at CBS, "Secret Fortune" where contestants answer questions and choose from 24 sealed envelopes of varying dollar amounts. One of which could be a life-changing substantial amount. "We are Family" with Dick Clark Productions for the CW. We have several unscripted reality projects in the works with Robin Antin, founder of the Pussycat Dolls and executive producer Kim Kardashian, relationship and sex expert Dr. Laura Berman and a project by rock legend, Alice Cooper.

Q: As a mother and busy executive, how do you balance it all and what advice do you have for women looking to grow in their careers and balance family responsibilities?
KM: The truth is that it is hard to have a career and family. I'm a mom first. I wake up at 4 am because that's when my day starts and my quiet time. I catch up on CNN, shows I missed and watch them on Hulu while exercising and working on my blackberry. I'm packing the kid's lunches, making breakfast, checking homework. It is very difficult to balance, but I am highly organized and I have a supportive spouse. I'm living the American Dream and I'm exhausted. Like most mothers you put yourself last and keep going. I've been fortunate to have great bosses and mentors such as Nigel and my former boss, Mike Darnell (President, Alternative Programming at Fox). I can say that Nigel Lythgoe is extremely supportive. He is a producing genius and I'm thrilled to be here.