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| Acknowledgements | |
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| How to Use this Book | |
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| Foreword | |
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| Introduction | |
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| Prologue: From Aspiring Screenwriter To Reality Producer; Huh? | |
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| Chapter Zero and Rule Number One Story is Story, and Story is Written. Sort of | |
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| The Home Improvement Show Exercise | |
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| So Why Don't I See Writers Credited on Reality Shows? | |
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| What Does A Story Producer Do, Exactly? | |
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| Timeline? What Timeline? | |
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| Authenticity | |
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| Continuity And Story Basics | |
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| A Brief History of Reality Television | |
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| Origins And Pioneers | |
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| Contemporary Reality | |
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| Criticisms Of The Genre | |
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| Chapter One Exercises | |
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| The Seven (Or Seventy, or Seven Hundred) Kinds of Reality Shows | |
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| Documentary / Docu-Series | |
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| Reality-Competition / Elimination | |
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| Makeover / Renovation | |
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| Dating | |
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| Hidden Camera / Surveillance / Amateur Content | |
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| Supernatural | |
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| Travel / Aspirational | |
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| Chapter Two Exercise | |
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| The Reality Effect | |
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| How Reality Has Changed Traditionally Scripted Shows | |
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| The Reality Genre As Fodder For Traditionally Scripted Television | |
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| Chapter Three Exercises | |
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| The Reality of Reality | |
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| Overview: Production Hierarchy | |
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| Chapter Four Exercises | |
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| Preproduction | |
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| Reviewing Past Episodes And Casting Materials | |
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| Downloading With Your Producers | |
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| Sketching Out Your Profile Interviews | |
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| The Preliminary Outline | |
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| Chapter Five Exercises | |
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| Production | |
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| Field Notes | |
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| Hot Sheets | |
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| Interviews | |
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| Interviews vs. OTFs | |
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| Forecast Bites | |
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| Advanced Interview Technique | |
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| Composing The Interview Shot | |
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| Checking Your Audio | |
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| Keeping Your Eyes Peeled | |
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| The Reluctant Subject | |
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| Stammerers / Ramblers | |
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| The Victim / Self-Producer | |
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| Attention, Blabbermouths! | |
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| Some Thoughts On Scenework | |
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| Stir It Up: Bringing Your Cast Back To Life | |
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| Set Etiquette | |
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| Don't Feed The Animals: The Talent Is Not Your Friend | |
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| Trouble In Paradise: What To Do When The Shoot Goes South | |
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| A Final Word On Production: Physical Safety | |
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| Chapter Six Exercises | |
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| Postproduction | |
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| Rethink Your Outline | |
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| The Big Picture | |
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| Keep It Meaningful, Keep It Moving | |
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| The Return Of The Forecast Bite | |
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| So The Season's Mapped Out, Now What? | |
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| A Word On Stakes | |
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| The Ticking Clock | |
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| The Big Deal Out Of Nothing | |
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| The Repurposed Scene | |
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| Composing A Stringout | |
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| Option One: The Paper Cut | |
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| Option Two: The Avid / Final Cut Pro Stringout | |
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| A Word On Act Breaks | |
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| Teases | |
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| The Rough Cut | |
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| The Rough Cut Goes To Network: First Notes | |
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| The Fine Cut | |
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| The Locked Cut | |
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| Chapter Seven Exercises | |
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| Get To Work! | |
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| Entry-Level Positions | |
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| The Story Department | |
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| The Politics Of Reality | |
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| �That Stuff Has Writers?� - Building A Reputation On An Invisible Job | |
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| Ethics | |
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| Saying No: Building The Resume You Want | |
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| Advancing Your Career | |
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| Networking In The Reality Community | |
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| Networking In The Broader Television Community | |
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| Professional Organizations | |
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| Maximizing IMDb And Other Resume And Credit Websites | |
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| Some Final Thoughts On Networking | |
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| Chapter Eight Exercises | |
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| Creating Your Own Shows | |
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| The Workable Concept | |
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| The Pitch | |
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| The One-Sheet | |
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| Chapter Nine Exercises | |
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| Parting Shots | |
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| Closing | |
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| Glossary | |
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| Writing Host Copy and Voice Over | |
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| Things It's Not Your Job to Worry About (But That You Should Sweat Anyway) | |
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| Rights And Clearances/Releases | |
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| Art | |
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| Castmembers | |
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| Extras/Background | |
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| HINs | |
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| Landmarks | |
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| License Plates | |
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| Logos | |
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| Minors | |
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| Personal Life Land Mines | |
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| Phone Numbers | |
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| Wide Area Releases | |
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| Product Integration / Product Placement / Tradeouts | |
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| Understanding Deal Memos | |
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| The Non-Disclosure Agreement And Cross-Indemnification | |
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| About the Author | |