Your Unremarkable Shows

[Nedew]

So often in this forum people want to share their big feuds or events, usually focusing on their PPV card or season finale. They show the big special shows, and the build-up is rarely mentioned in detail.

 

The idea behind this thread is the exact opposite:

What happened on a recent 'standard' TV show/event of yours?

 

I, honestly, suck at booking TV. Whether i'm building to 4 PPVs a year or 12, it never quite 'feels right' compared to the real thing. I go overboard with squash matches (trying to copy late 80s/early 90s WCW), or I feel like I'm wasting PPV-potential matches until I have no fresh matches left (a la Nitro), or I go overboard with tag combinations of my PPV card (a la New Japan), or the PPV card is just a repeat of matches from TV (modern-day WWE).

[DatIsraeliGuy]

<p>For me, it depends:</p><p>

I usually just have a mix of all the styles you mentioned, I love tag matches a la Teddy Long, but also every other week or so I throw in a PPV level match. I also like to have Champion vs Champion matches to give exposure for the midcard, but mainly build around the backbone, workhorses, of the roster. It's also super important to always have your big stars on TV, match or angles don't matter.</p><p>

I usually shy away from the titles being set for live TV (except for the obvious TV title) because I'm old school towards them, they should be on big events only imo. Squash matches are important because they can fill time instead of another angle I don't really want on the show.</p><p>

But mainly I love to have a template ready for each save that plays to the company I book.</p><p> </p><p>

For example in my 97 Montreal Aftermath WCW save (currently in 98), I have a template I always follow;</p><p>

The first two segments are for the cruiserweights, consisting of a highlights video and then a fun match to hype the crowd.</p><p>

I follow it up with what I think is the worst match of the night (non squash), then a tag match, squash match, technically sound match, then the main event. After filling in with angles I see if I need to throw another squash match in there and there it goes.</p>

[d12345]

<p>I keep my TV matches generally as 'Storytelling' road agent note matches. I'll let some midcarders or women have at it in a high spot/steal the show match to see if anyone seems ready for a push from a performance standpoint.</p><p> </p><p>

<span style="text-decoration:underline;">I generally have a 120-Minute show that I break into 30 minute blocks. It runs generally like this:</span></p><p> </p><p>

10 mins - Hottest storyline opens the show with a segment</p><p>

8 mins + entrances - Storytelling match that leads to some post-match antics</p><p>

4 mins - the aforementioned post-match antics</p><p>

6 mins - midcarder cuts a promo </p><p>

<strong>End of first half hour</strong></p><p>

6 mins + entrances - high spot match between midcarders/lower mid-carders or women</p><p>

2 mins - backstage storyline segment (to set up something coming up later)</p><p>

5 mins + entrances - Comedy match</p><p>

8 mins + entrances - Gotta love tag team wrestling</p><p>

3 mins - A light storyline segment to break up the show <em>(can even be just a manager talking or some dancers a la the Nitro girls)</em></p><p>

<strong>End of second half hour</strong></p><p>

8 mins - Second hour opening storyline segment</p><p>

4 mins + entrances - squaaaaash</p><p>

4 mins - post-match interview with squasher. Sometimes leading to a confrontation</p><p>

8 mins + entrances - Women's wrestling</p><p>

<strong>End of third half hour into the home stretch</strong></p><p>

the last half hour differs depending on the specifics of my storylines but here's an example...</p><p>

4 mins - Uneasy alliance of bad guy main eventers have some drama backstage <em>(can also be babyfaces)</em></p><p>

6 mins + entrances - This match is to excite the crowd. Some brawlers have a wild brawl, steal the show, or another high spot match</p><p>

4 mins - Alliance of good guy main eventers have each other's backs</p><p>

12 mins + entrances - A big show ending 6-man tag amongst main eventers</p><p>

5 mins - After match dusty finish descends into a big ol' brawl </p><p>

<em>Alt ending - Face to face confrontation between the champ and top contender, after the top contender pins an ally of the champ.</em></p><p> </p><p>

<em>The 6-man tag main event can also be a normal tag team uneasy alliance, a mixed-tag, or a bigger 8-man tag.</em></p>

[Self]

<p>I don't think TV should be unremarkable. When I see how much money WWE makes from television deals compared to PPV, I think the old school way of using the weekly show as a pure advertisement for the PPV is finally outdated. I mean, it all depends on your business model (and TEW is still pretty beholden to that old fashioned version) but I find myself playing more and more TV focused promotions. Where ratings are king and everything big happens in front of as many eyes as possible. </p><p> </p><p>

I focus TV on the main event. I pick something big and important and new, then I devote a good chunk of the show towards telling that story. Who's involved? What's at stake? What supernatural force is twisting things behind the scenes? </p><p> </p><p>

Then, you know, a garbage undercard. </p><p> </p><p>

The most recent private game I can find is Wrestling Premier League in the 2005 C-Verse mod. Brent Hill has been struggling with Boss Man Brayfield's latest hillbilly giants, the Good Ol' Boys. Taking on Wooton in the main event, he spent the episode concocting a way to neutralize Thimbleby. His new pal Tom E Hawk couldn't beat him, so he ended up luring him into a closet and locking him inside. Thus getting Wooton alone and getting the victory.</p><p> </p><p>

I had started the next show, with only the main event booked. Brent Hill & Samoan Machine vs Goold Ol' Boys. Machine was a heel, so I guess this was a enemy-of-my-enemy story. Wonder if I had a finish in mind...</p>

[cappyboy]

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Nedew" data-cite="Nedew" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="46978" data-ipsquote-contentclass="forums_Topic"><div>So often in this forum people want to share their big feuds or events, usually focusing on their PPV card or season finale. They show the big special shows, and the build-up is rarely mentioned in detail.<p> </p><p> The idea behind this thread is the exact opposite:</p><p> <strong>What happened on a recent 'standard' TV show/event of yours?</strong></p></div></blockquote><p> </p><p> A good question. One that does seem like it could do with exploring. Personally I'd say I'm closer to Dat Israeli Guy's answer than d12345's. I don't have a step by step outline like D does because I tend to play small and don't feel like I need it.</p><p> </p><p> Also, my games aren't about my fed making money. They're about training people up. So I book what I need to book and let money tend to itself. I heavily overfund for my size starting out. So after a year or so, income starts coming. </p><p> </p><p> But I do have standard booking rules. The most organized is my pre-show time which I still book like 10 was the most recent game. 20 minute pre-show consisting of an eight minute tag match preceded by six minute promos by each team. Typically the match will be between two really green guys who need extra work v either a thrown together team or one I'm trying to make more experienced and established as a unit. The latter team winning because the rookies are in the match to gain experience without eyes on them and therefore not be seen as hopeless when they are on the main show. </p><p> </p><p> I have everybody do something on every show. Storyline matches are given precedence with the others being tossed together as needed. I also like to do a lot of film parodies with workers who need to work on Entertainment skills. Ideally triangle scenes involving a couple wrestlers and the female color commentator I'm trying to transition out of the valet game for age reasons. And while I am often old school like Israeli guy, I do pull some modern angles at times. My favorite of those being the promo interruption fest show opening. Those take a good chunk of time which allows my preshow guys to catch their breath before having to wrestle again on the main show.</p><p> </p><p> </p><p> </p><blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Nedew" data-cite="Nedew" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="46978" data-ipsquote-contentclass="forums_Topic"><div>I, honestly, suck at booking TV. Whether i'm building to 4 PPVs a year or 12, it never quite 'feels right' compared to the real thing. I go overboard with squash matches (trying to copy late 80s/early 90s WCW), or I feel like I'm wasting PPV-potential matches until I have no fresh matches left (a la Nitro), or I go overboard with tag combinations of my PPV card (a la New Japan), or the PPV card is just a repeat of matches from TV (modern-day WWE). </div></blockquote><p> </p><p> Sounds like you're being too hard on yourself and trying to be too perfect. Don't forget the only people you really have to please with your TV show are imaginary. None of those game plans are bad in and of themselves. They may not all reflect the modern mindset of how promoters book TV but so what? It's your game. You do what works for you. I understand the concern if you're trying to go worst to first or win regional battles. But I found that the way the game was the most fun for me was to get out of that rat race and do my own thing on the side. Everyone's mileage varies of course but you do you. This is one of those games where as long as you're having fun, you're playing it right.</p>

[d12345]

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="46978" data-ipsquote-contentclass="forums_Topic"><div>Sounds like you're being too hard on yourself and trying to be too perfect. Don't forget the only people you really have to please with your TV show are imaginary. None of those game plans are bad in and of themselves. They may not all reflect the modern mindset of how promoters book TV but so what? It's your game. You do what works for you. I understand the concern if you're trying to go worst to first or win regional battles. But I found that the way the game was the most fun for me was to get out of that rat race and do my own thing on the side. Everyone's mileage varies of course but you do you. This is one of those games where as long as you're having fun, you're playing it right.</div></blockquote><p> </p><p> I agree with this so much.</p><p> </p><p> I tend to have this formula to prevent "booker fatigue." I found that having a formula to fall back on when you just don't feel like booking a show helps spark creativity. I start with the formula and then I say "oh this is a great opportunity for that random midcarder to show me something and maybe catch fire" then I get excited again for a game.</p><p> </p><p> Although I do tend to play larger feds and run my games for 5 years+</p>

[Jomosensual]

I book 3 TV shows so I usually end up building shows the same way all 3 shows. So if my first show of the week has all number 1 contenders matches my other 2 usually follow suit either that week or the week after. If I was booking this stuff IRL I'd probably hand off the reigns to someone else to do the other shows because trying to make 3 shows good is pretty hard.

[James Casey]

<p>My B shows are fairly throwaway, but I might have a 'fallout' segment on there, as they run on Sunday and the main show is on a Saturday.</p><p> </p><p>

On the Saturday show, which is 2 hours long, I usually run between 5-7 matches, depending on the need. It's a 60:40 match:angle split for TV, but I usually make the most of leeway to bring it in around 70:30.</p><p> </p><p>

I never book matches back to back unless there's a very good reason to do so (singles match evolving into a tag match, say) and even then I'd probably have a minor angle in between to 'explain to the live crowd'.</p><p> </p><p>

So a typical show will be something like:</p><p> </p><p>

<strong>Match 1</strong> - 10-15 minutes, lift the crowd, get their interest and pay it forwards for the rest of the night</p><p>

<strong>Segment 1</strong> - storyline build, might be something that pays off that night or down the line - ideally both!</p><p>

<strong>Match 2</strong> - 10 minutes, typically story based as my product needs at least 1 per show, usually tied into a running storyline somewhere on the card</p><p>

<strong>Segment 2</strong> - More storyline build (you may notice a theme here; What else are segments for?)</p><p>

<strong>Match 3</strong> - Regular, usually building a midcard storyline, not usually too long, nor too likely to have a clean finish; Matches 3-6 (2-6, really) have limited effect on the overall show grade, so that's your experimentation zone if you're game.</p><p>

<strong>Segment 3</strong> - This is as good a place as any to drop a skit. Have Team Hell No yelling at each other, something like that.</p><p>

<strong>Match 4</strong> - Wildcard, depending on my mood this could be anything, although sometimes I like to spike the crowd with a wild brawl or high spot match. When I do, this could be moved to match 3 with match 4 calming the crowd</p><p>

<strong>Segment 4</strong> - Could be anything, as good a place as any to check the Analysis button, see who's not been used, and drop them into the show so they don't complain.</p><p>

<strong>Match 5</strong> - The semi-main, this usually has a combination of main event, upper micard and midcard talent, so definitely people that the fans care for, but not so much that it overshadows the main event. It might be a long, 20+ minutes match if the show is running short and the main event is hot enough to equal/top it.</p><p>

<strong>Segment 5</strong> - A good place to put a midcard angle. It gives a bit of a breather between two matches that should rate well, but also should (in theory) give a hot crowd bonus for the workers involved. You might, for example, have Midcard Heel cost Midcard Face a match against Mainevent Heel in match 5, and this angle feeds off that. Alternatively, use it to set up the main event so you get good momentum going in to the big match.</p><p>

<strong>Match 6</strong> - Main event, 20+ minutes, slow build, call in the ring if possible. This might be a singles match between workers involved in a tag feud, or a tag matches involving workers in a singles feud. I might have a singles face against a tag heel who's supporing the face's rival - this match should ideally focus on one or more of my top feuds.</p><p> </p><p>

Throughout the show, if I have time, I'll pepper additional segments designed to gets guys on TV, build skills, expose storylines... I'm not booking for <em>optimal</em> ratings, but I'm reliant on the key segments to pull <em>good</em> ones. As a National company I want a B+ show rating for my main show. B will keep me steady, but B+ keeps momentum ticking over nicely, and A/A* are welcome bonuses. Having as good a main event as I can is a big part of that - from memory the main event is something like 60-70% of the show grade, so it makes a huge difference if that gets a B+/A rating. Fortunately after 18 months in-game pretty much any combination of main event/upper midcard wrestlers will get a B+/A in the main event, which is just great for me.</p><p> </p><p>

Something to bear in mind: These aren't rules. I don't power game - quite the opposite. I experiment to see what works, but I have no problem deviating in the interests of telling a good story. I think the (entirely fictional, but why let that stop you?) fans appreciate a bit of variety in their shows, otherwise it all becomes just that bit too predictable - a bit like how WWE almost always books a cool-down match/segment before the main event at Mania each year.</p>

[BrokenCycle]

People underestimate how well main event vs midcard guy matches do, even in pop companies. Many times they'll hit the required rating for no popularity gain.

 

It is hard coming up with new match ups for the main event, but TV shows are really there to move storylines forward.

[DatIsraeliGuy]

People underestimate how well main event vs midcard guy matches do, even in pop companies. Many times they'll hit the required rating for no popularity gain.

 

It is hard coming up with new match ups for the main event, but TV shows are really there to move storylines forward.

 

This.

 

I do this so much in perf feds so I can't vouch for pop, but this is so true, that's how I usually find who to push

[Tom Bombadil]

I usually have some sorta ME-ish tag match as the main event, and the rest is things like ME > MC, or UM > MC. I don't have a set formula, but usually I have a few plot beats (matches or angles) sketched out that I want to cover for all my storylines, then I make sure all my MEs are on the card, then I just throw in whoever's left into whatever slots are left, with a mix of prospects I want to develop, people I haven't used in a bit, and just plain good/over workers.

[RatedRKO16]

My formula was different for previous versions but thanks to auto booker, I've been using that and changing what I dont like. It gives me some fresh matchups, i edit the length if necessary and add in some angles if I have an attack during the match or if a story line was missed. If someone was left off the card that needs to be put in I do that. Set the road agent notes I want then go. Only the PPVs have I been fully booking which go with the formula I use to run which was a pre match interview, match, post match angle (celebration, handshake, beatdown, interference, etc) for all my story lines.

[dpoolez]

<p><p>This might be taboo within TEW/EWR Culture, but I autobook most TV shows, pick who I want going over, and tweak angles to where all storylines are represented and everyone is booked to their strengths.</p><p> </p><p></p><p>

I’ll usually book the biggest shows from scratch or when I want feuds to end and begin new ones.</p></p>

[JBird991]

This might be taboo within TEW/EWR Culture, but I autobook most TV shows, pick who I want going over, and tweak angles to where all storylines are represented and everyone is booked to their strengths.

 

I’ll usually book the biggest shows from scratch or when I want feuds to end and begin new ones.

 

Nah if I'm booking like WWE I usually schedule my shows so its like a PPV on the last sunday of week 4. So I will usually book the first 2 weeks and auto book the 2nd two just because its too many shows

[Makhai]

I don't think TV should be unremarkable. When I see how much money WWE makes from television deals compared to PPV, I think the old school way of using the weekly show as a pure advertisement for the PPV is finally outdated.

 

It's been outdated for almost 30 years. It made sense in the 60-80s when nothing good was on TV, and the vast majority of your shows were airing in Syndication and thus you had to use them differently so that the shows could exist in a vacuum. So squash matches, generic promos, etc made way more sense because you didn't know if Channel TXWA 51 was going to air your tapes in order or when. Now you have yearly deals for 10 figures. So you really want to put on a product that highly entertaining, with as little fat as possible.

 

Events are kinda in a weird spot, and it's probably smart to use them to provide hardcore fans premium in-ring content, but keep your major storyline stuff to TV. Don't think the industry has caught up yet though, still views TV as a thing to build up other things, instead of as your primary meal ticket

[RatedRKO16]

It's been outdated for almost 30 years. It made sense in the 60-80s when nothing good was on TV, and the vast majority of your shows were airing in Syndication and thus you had to use them differently so that the shows could exist in a vacuum. So squash matches, generic promos, etc made way more sense because you didn't know if Channel TXWA 51 was going to air your tapes in order or when. Now you have yearly deals for 10 figures. So you really want to put on a product that highly entertaining, with as little fat as possible.

 

Events are kinda in a weird spot, and it's probably smart to use them to provide hardcore fans premium in-ring content, but keep your major storyline stuff to TV. Don't think the industry has caught up yet though, still views TV as a thing to build up other things, instead of as your primary meal ticket

 

Could your TEW promotion go global with 4 Events and one weekly tv show? That to me would be modern booking. 4 super shows and monthly championship defenses on TV... where titles actually change hands. Save only the "once in a lifetime" matches for PPV.

[d12345]

It's been outdated for almost 30 years. It made sense in the 60-80s when nothing good was on TV, and the vast majority of your shows were airing in Syndication and thus you had to use them differently so that the shows could exist in a vacuum. So squash matches, generic promos, etc made way more sense because you didn't know if Channel TXWA 51 was going to air your tapes in order or when. Now you have yearly deals for 10 figures. So you really want to put on a product that highly entertaining, with as little fat as possible.

 

Events are kinda in a weird spot, and it's probably smart to use them to provide hardcore fans premium in-ring content, but keep your major storyline stuff to TV. Don't think the industry has caught up yet though, still views TV as a thing to build up other things, instead of as your primary meal ticket

 

I think you're overestimating how good television shows (not just wrestling) are in general. The vast majority of network television is "fat." That's how show runners keep their jobs.

 

For example: The network says "Hey we're selling or cancelling you because you cost too much money." The smart television show replies "Fans will be pissed off if they don't get a resolution to these story-lines that they've been following for the past 5 years. Renew us for 2 more seasons and let us wrap it up."

 

In TV wrestling speak that is why most shows are build ups. Even if they aren't building up to a PPV, they are building up to some sort of season finale.

 

The longer you can hold off that TRUE BIG finale the better. See: The Walking Dead or Game of Thrones.

[Makhai]

I think you're overestimating how good television shows (not just wrestling) are in general. The vast majority of network television is "fat." That's how show runners keep their jobs.

 

For example: The network says "Hey we're selling or cancelling you because you cost too much money." The smart television show replies "Fans will be pissed off if they don't get a resolution to these story-lines that they've been following for the past 5 years. Renew us for 2 more seasons and let us wrap it up."

 

In TV wrestling speak that is why most shows are build ups. Even if they aren't building up to a PPV, they are building up to some sort of season finale.

 

The longer you can hold off that TRUE BIG finale the better. See: The Walking Dead or Game of Thrones.

 

None of this has anything to do with wrestling, and the reason this happens is that TV execs are looking to replace TV with non-union reality TV, and low-effort stuff that they can sell ads for. The problem with finding the next Friends is that the second the first contract is up you're paying everybody a Million an episode. With SAG officers onset, and work restrictions. Wrestling is considered a live sports product, so it doesn't face any of these pressures, and its intrinsic fanbase means that they can set it and forget it in their cable lineups and instantly get to say they're the highest-rated network on cable. This is why it can suck for 15 years and nobody bats an eye.

 

If the wrestling company wants to min-max their revenue though, they should probably build around TV because of this. Which was my point.

[DatIsraeliGuy]

Reading through this thread makes me wanna try a save with an entirely TV product

[a0161613]

Reading through this thread makes me wanna try a save with an entirely TV product

 

Have you tried RAW? It's strangely interesting.

[d12345]

None of this has anything to do with wrestling, and the reason this happens is that TV execs are looking to replace TV with non-union reality TV, and low-effort stuff that they can sell ads for. The problem with finding the next Friends is that the second the first contract is up you're paying everybody a Million an episode. With SAG officers onset, and work restrictions. Wrestling is considered a live sports product, so it doesn't face any of these pressures, and its intrinsic fanbase means that they can set it and forget it in their cable lineups and instantly get to say they're the highest-rated network on cable. This is why it can suck for 15 years and nobody bats an eye.

 

If the wrestling company wants to min-max their revenue though, they should probably build around TV because of this. Which was my point.

 

All I'm saying is when WCW decided to blow their big matches on television in 1998, they were making a mistake then, and would be now.

 

Goldberg vs Hulk Hogan alone if saved for Starrcade could've balanced their books enough to keep them alive.

 

They could've spent 4 years building up to Goldberg vs Sting, Goldberg vs Nash, Nash vs Hall, Giant vs Hogan. They blew all those in a few months.

 

Another example: How long would AEW last if they blew their big matches on television within the first month?

[BrokenCycle]

Goldberg vs Hulk Hogan alone if saved for Starrcade could've balanced their books enough to keep them alive.

 

Man, this is such hyperbole. WCW went under in early 2001, and this match happened in 1998, their best year financially. You're telling me the money earned from doing one match compared to not doing the match would save the company 2 and a half years later from closing?

[d12345]

Man, this is such hyperbole. WCW went under in early 2001, and this match happened in 1998, their best year financially. You're telling me the money earned from doing one match compared to not doing the match would save the company 2 and a half years later from closing?

 

Yes. Exactly. WCW in 1998 made $30 million in profits. That's when they burned through all their big matches and stories. Starting in 1999 they lost money every year. By 2001 they were done.

[Self]

All I'm saying is when WCW decided to blow their big matches on television in 1998, they were making a mistake then, and would be now.

 

Goldberg vs Hulk Hogan alone if saved for Starrcade could've balanced their books enough to keep them alive.

 

They could've spent 4 years building up to Goldberg vs Sting, Goldberg vs Nash, Nash vs Hall, Giant vs Hogan. They blew all those in a few months.

 

Another example: How long would AEW last if they blew their big matches on television within the first month?

 

Even in an entirely TV based product you would need to properly build matches and space out feuds and stories. Having the payoff on TV for ratings is fine if you take the time to build to it, instead of hotshotting like WCW did.

[Makhai]

Even in an entirely TV based product you would need to properly build matches and space out feuds and stories. Having the payoff on TV for ratings is fine if you take the time to build to it, instead of hotshotting like WCW did.

 

If you got the talent they did, and the heat then you can hotshot even. What killed WCW was the fact they never understood that they were going to have to plan for a day without the nWo. And they built their business on the aging stars and refused to move their better, over talent into the limelight. What always happens in this scenario is the acts will get old, and your business will decline. If you don't freshen up your acts you'll wind up like UK wrestling during the Big Daddy era. Add on top of this an egomaniacal Jerry Springer wannabe who hates wrestling being hailed as your savior and you've got a recipe to kill your company in 18mos.

 

But Russo gets too much flak honestly. Bischoff's chub for Hogan and his inability to see the talent in guys like Malenko, Benoit, Jericho, Rey and Eddie is what hurt them. Once those guys got told that they would never rise above Hogan, they jumped ship. And the 2000s became the WWEs no matter what happened in 1999.