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TOLDJA! Black List Launching Screenplay Services
LOS ANGELES (October 15, 2012) – The Black List founder Franklin
Leonard and cofounder/CTO Dino Sijamic announced today the launch of a paid service that allows any screenwriter, amateur or professional, to upload their script to The Black List’s database. The script will be evaluated by professional script readers, and, depending on its evaluation(s), read by as many as 1,000 film industry professionals who are currently a part of the membership site.
Aspiring screenwriters will pay $25 a month to have their scripts hosted on The Black List’s website, accessible only by a closed community of Hollywood professionals. They can further pay $50 for evaluations by anonymous script readers hired by The Black List. Every read by industry professionals generated by those evaluations is entirely free. Moreover, The Black List will not claim a commission, finder’s fee, or producer credit on business generated by their service. “Writers retain all rights to sell and produce their work and are free to negotiate the best deal they can get. All we ask is an email letting us know of their success,” added Leonard.
“For years people have been asking me how to get their scripts to Hollywood. Short of endless rounds of unanswered query letters and screenplay competitions that may, in the best case scenario, attract the notice of a few people, I never had a good answer,” said Leonard. “We built this to provide one. It’s essentially a screenplay competition with rolling admission, as many prizes as there are good scripts, and instead of a check, you may be rewarded with a career as a professional screenwriter. But it’s also more than that: we’re delivering the best scripts directly to the hundreds of people who can help get them bought and made.”
Leonard and Sijamic claim to have “an ironclad ‘do no harm’ policy. A script’s evaluation will only be made public if a writer wishes to make it so. Moreover, the only time an industry professional’s attention will be drawn to a script is if it’s been evaluated positively or if our algorithm believes they personally will like it,” added Leonard.
Over 200 scripts that have appeared on the annual Black List of most liked unproduced scripts have been produced and released for the domestic market, making over $16B in worldwide box office and earning 148 Academy Award-nominations and 25 victories. This includes two of the last four best pictures (THE KING’S SPEECH and SLUMDOG MILLIONAIRE) and five of the last 10 screenwriting Oscars (JUNO, SLUMDOG MILLIONAIRE, THE KING’S SPEECH, THE SOCIAL NETWORK, and THE DESCENDANTS.
The Black List began as a survey of several dozen executives’ favorite unproduced scripts. The 2011 edition surveyed over 300 executives, which comprise over 60% of Hollywood’s studio system corps.
Notable Black List scripts include 21, 3:10 TO YUMA, 500 DAYS OF SUMMER, ADVENTURELAND, BABEL, BLACK SNAKE MOAN, CEDAR RAPIDS, CHARLIE WILSON’S WAR, DIVING BELL & THE BUTTERFLY, DUE DATE, EASY A, FANBOYS, FROST/NIXON, HANNA, IN BRUGES, INGLORIOUS BASTERDS, INVICTUS, JUNO, LARS AND THE REAL GIRL, NICK AND NORAH’S INFINITE PLAYLIST, NO STRINGS ATTACHED, ORPHAN, RECOUNT, RENDITION, SALT, SCOTT PILGRIM VS. THE WORLD, THE SOURCE CODE, STATE OF PLAY, SUPERBAD, THE BLIND SIDE, THE BUCKET LIST, THE FIGHTER, THE HANGOVER, THE IDES OF MARCH, THE KITE RUNNER, THE QUEEN, THE TOWN, THE WRESTLER, THERE WILL BE BLOOD, UP IN THE AIR, WE ARE MARSHALL, and ZOMBIELAND.
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This service wouldn’t be needed if development people knew what they were doing. It reminds me of the old story about the writer who sends his script to a friend at one of the film companies. A week later he calls and asks what he thought of it. “I don’t know,” the friend says. “I’m the only one here who’s read it.”
What’s that old saying…
Those who can’t do teach and those who can’t teach make lists and charge money for it.
Seriously. Who is reading these scripts? A bunch of random people, or is it Franklin himself? Because we know there is plenty of junk on The Black List, and plenty of development fools at A-List production companies who think they have taste, yet are just annoying middle-men who get in the way. And they’re a match for the hacks they service. The writers with genuine talent know that these contests and readers are so subjective, and the best of the best is often garbage.
Heck, look at Scriptshadow today —– He pans a script that made The Black List. Sure, it got only 2 votes, barely qualified, but is a Black List caliber script, or barely worth the read? It’s too subjective, and even if were 50 bucks alone, they’re counting on volume to pocket your money. And then you keep it on the site for 4 to 8 months hoping some exec still hasn’t discovered it, and you’ve eventually paid 200 to 400 bucks by the time it’s said and done.
So…script shadow but with a monthly fee that triples Netflix?
I’ve never heard anyone in the industry (been working in it for a decade) refer to Script Shadow outside of that one script that sold a few months back and several complaints about early drafts being reviewed.
I’d rather pay 50 bucks up front or 200 bucks upfront, a monthly fee, rather than pay Carson 750 to 1000 dollars to he can say my script is awful just like all the other readers.
READERS are READERS because they can’t option a script on their own. They sure can’t sell a script. They can’t direct a film. They haven’t had a film they directed play at a major festival. So, they just evaluate scripts and their not-good-enough opinion determines your fate. Many of these readers are bitter and angry, and they take it out on the scripts. Heck, most of these Black List scripts were passed on by 300 people first, and many of the ones that hit right away aren’t even good.
And yes, a 15-year-old in Honors English can read a given script and tell you why it stinks. They can then read two books on structure and give you an informed opionion of why it stinks. That’s not hard. Kids know crappy movies from good movies, and the same holds true with scripts. Scriptshadow has pulled the wool over people’s eyes, because his evaluations use all the metrics we use to evaluate. Doesn’t mean he’s right, but if he’s a pipeline to the dealmakers, he’ll make money. Same with Franklin’s site. But if Franklin himself is reading the script, or someone whose opinion is proven — not some Scriptshadow type, then it’s way more valuable. Sure, he’s lending his name, so there’s a great business model, and yes, many writers will rise because of this. Awesome. But many scripts entered that are awesome will not rise, so don’t give up just because yours didn’t get attention.
You say that readers are bitter, and yet your post is dripping with bitterness. There are plenty of good script readers/story analysts out there. A good one can push a script forward or rescue it from development hell. I don’t agree with this business model — you’re not likely to get good feedback for $50 — but trashing all readers is foolish.
No reader has ever rescued a script from development hell. But thousands have passed on scripts that went on to get bought, made, and win Academy Awards. Thousands, okay? Every script I’ve ever written has gotten terrible coverage from the contests, the readers, and whoever else. And then when they go to human beings, they find success, and greelights.
Yes, Joe. I’m sure “thousands” of readers have read and passed on your scripts. And that all have subsequently gone on to tremendous financial success. If only we all had your skill and acumen.
Wow…bitter much? I don’t know about you, but my go-to reader is a producer with credits to his name.
This is sad. Even if they mean well, and I’m sure they do, this model just gives hope to screenwriters who shouldn’t have any.
exploitation of aspiring screenwriters who know no better. what a racket. BL could keep you on the list until they get what ever amount from these screenwriters… jeez…
I’ve always felt this way about the WGA and their charging of “$20″ to register non-member scripts ($10 to members), but – in reality – they won’t defend non-member scripts in arbitration disputes and, of course, the con that “WGA registration” isn’t copyright and a lawyer wouldn’t take the case anyway if someone had a beef.
If a script makes it to arbitration, by then the writer is a WGA member. That’s how it works.
Is this a good thing? I can’t tell.
It’s a good thing for Franklin. It’s a good thing for the writers whose script get chosen to move up. It’s not a good thing for the writers who have awesome scripts, but are subject to the whims of the people who are paid 20 bucks to read your script. Who are ticked that they’ll never get anywhere with their “art.”
I’ll put a script up and pay when the registration says Screenwriter and not Aspiring Screenwriter.
Smart evolution for this site — very smart guys.
FREE TIP: Aspiring Screenwriters, any service which asks for cash to “evaluate” your talent, RUN AWAY. Includes: Contests, black lists, former execs-cum-consultants, etc.
You wanna get noticed? Keep writing. Get better.
YES! Thank you! But, you know, that would make sense… *sigh*
$50 is not going to break the bank and if it’s the unbiased, objective opinion of a professional script reader, it may be worth it to an unconnected writer without an agent who cannot get a studio to read. At least, you’re not just listening to Mom or a friend blowing smoke who’s sure to say “it’s great.”
As for the $25/month for a listing, it should be the same mentality as listing your house. Don’t let it get stale on the market if it’s not selling.
You’re an idiot if you think Franklin is hiring “professional script readers”. He is hiring USC students at $15 a script… So if you want a first year USC student to read your script save yourself the extra $35 and contact the school directly.
Except that it’s not 50 dollars, it’s 75 dollars to start, and let’s be honest. If Franklin wants to cite transparency, be honest and say that the script is going to need to stay on the site for months even with a recommend in order to get hits. And whether or not it gets recommended well on its first try or second, your’e going to want another 50 dollar to read to get a good review, or to get the 2 or 3 or 5 you’ll need to attract real attention. Esp. since many scripts with good reviews will still get passed on. So you’ll really be spending 150 bucks and up. Not a bad deal, but this is more about making money than helping writers. Be honest.
What professional reader charges $25 (what these guys actually get) for notes? That’s the problem. While they’re not writing extensive notes, they still need to be objective enough to offer a fair score. The biggest concern is trolls in the ranks who will poo on a good script simply because it’s better than anything they themselves can write.
That’s what’s preventing me from signing up.
Couldn’t agree more, Second Rodeo.
Franklin, put the light saber DOWN. All the Sand People are dead and Padme is begging you to come to bed.
Way to make money off of beginning screenwriters who will never make a single sale off of this website.
Good news for screenwriters to have another venue to present their screenplays. Likewise a great opportunity for producers to access new material with an eye to acquiring and financing the film budget for production and distribution. Will be watching with interest. Good luck!
Ha. If there are financiers just dying to put money into a project, why don’t they just give caa or icm or wme’s Film Finance departments a call? There are dozens of established filmmakers and production companies always looking for funding.
Because some high net worth individuals are smart enough to know they will be wrung dry if they go the agency/studio route with no accounting transparency. The business is shifting, and the traditional methods are not necessarily the best way to go.
“Over 200 Black List screenplays have been made as feature films.”
Yeah, let’s not get ahead of ourselves there!
MOST of those scripts already had producers attached and were in the production / development pipeline by the time they got on the list.
Agreed!!!!!
This is no different than the pitch fests that charge writers for the right to pitch their scripts to a bunch of people who don’t really want to be there. And I can’t imagine how they think this doesn’t harm the Black List brand. The whole thing that originally made the Black List interesting was that it was curated and (at least initially) reflected genuine sentiment about screenplays from decision makers around town. And now a system where anyone can pay to upload a script no matter how crappy? Who would possibly care about that?
Congrats, Franklin. I know big things are ahead for you and Blacklist.
Okay, so 50 bucks up front, then 25 a month?
Let’s say it was just 50 bucks, with no monthly fee.
Great. So, it’s just like Scriptshark, Scriptapalooza, Save the Cat, in that some anonymous, 10 dollar an hour intern/recent graduate/failed writer is evaluating your script. Basically one of these kids who thinks they know everything about writing, has his subjective opinion determining the fate of your script.
Newsflash — Just like so many sold script and produced films didn’t qualify for Nicholl, which has pretige and merit, these things never work out. I hat hate hate Scriptshadow, but it always is best when ONE PERSON is reading a given script, and then recommending it to an agent or producer.
Only an idiot would pay for this.
We welcome all of your questions and concerns about the Black List’s new venture and would love the opportunity to address them in a public forum. This was designed explicitly to be a tide that can raise all boats, especially writers’.
To that end, if you have questions about how it works, why it was designed in the way that it was, and why we think this is very different than anything that has come before. Head here: http://blog.blcklst.com/2012/10/questions-about-the-new-black-list-ask-away/
I’ll be answer questions for the foreseeable future.
It will be interesting to see what the coverage looks like; if it’s strong this could be a great tool. I’m pulling for you, good luck!
The quality of the coverage will be relative to the capability and enthusiasm of the minimum wage earning student Franklin has paid to read your script. Even if one person gets great coverage unless you can be assured your script will be reviewed by that competent reader your gambling with your $50. The majority of the coverage will be the same caliber as that of an intern.
Ding! Ding! Ding!
Except you don’t even get coverage. You just get a studio reader who they’re trumping as someone vetted and chosen above all the other applicants. The readers are the same dopes who are responsible for the terrible films that we all see in multiplexes. Doesn’t matter if it’s big studio fare or indie stuff that isn’t that good whatsoever, the readers often have no taste, just like some of the movers and shakers. We’ve all read some of the terrible scripts on The Black List. Readers dont’ really work.
I’m glad Franklin will discover lots nad lots of writers, and for that reason alone, the project is worthwhile. But it’s also going to ignore so many great scripts that are better than the ones chosen.
Pro and con on this for now. Could go either way. SCRIPTSHADOW is not even a comparison…it’s just one person there; and he’s charging a helluva lot more. Agree on the comm. about DEV. EXECS. really needing to do their job instead of passing the buck; saying ‘no’ on everything, etc. If the future of successful movies is about go directly to the global audiences in more niche markets than just big budget, SFX, comic-book movies…then execs. at every level have got to start really doing their jobs: looking at a lot more screenplays outside their own, hallowed halls. Good and bad. Deal with it. Accept it. Do it.
This a terrific opportunity for Hollywood insiders to steal ideas, alter them, and then develop them as they wish under different names and titles. Stay away. This may create a new surge of concepts for Hollywood–and that would be welcome given most of the trash we have been seeing for 25 years–but it will not benefit screenwriters or aspiring screenwriters. Some lawyers may end up making cash via suits over copyrights, but the writers will (as always) end up shortchanged. Beware!!
Nobody owns ideas. Anybody can take any idea and make it their own. That is basic copyright law.
True, but if someone writes WEDDING CRASHERS, they’re allowed to steal the idea, because the execution of the idea is what counts. Still, if I read a WEDDING CRASHERS type script, I don’t care how good it is, I’m stealing it off of Franklin’s site and writing/producing/commissioning my own version. (I’m not, but others will. Count on it.)
Producers — not all, but some — will scour the site SIMPLY for the loglines.
‘Make more money from us’ period.
Anyone that bashes this is a complete moron. Either you have been spoon fed your career by a uncle who to your great fortune was an agent or you can’t find anyone to buy your shitty unoriginal overalls artistic scripts. Wake up. This is a chance for no name Joe from Minnesotta to make something of his talent. This is not some upstart. How can you argue with the evidence from the article above. You keep bitching. I’ll keep reading Black List scripts.
Interesting how your wording about the “uncle” exactly reflects Leonard’s quotes about having an uncle. Methinks you’re Franklin himself.
Good luck with the site. You’ll make tons, and you’ll discover some writers. Others will have their awesome scripts rejected because the people you’re paying 10 bucks a script have their own preferences. Let us know when you put names to the faces of people who are reading our scripts.
You said it right there, you’ll keep reading “Black List scripts”, the scripts that are in development somewhere, whose writers are represented by major Hollywood agents – you understand there is no correlation between the scripts that were on the original BlackList and the crap that is going to be generated by this gready attempt to take advantage of young writers who don’t understand that the success of those scripts (and the writers who wrote them) had nothing to do with Franklin Leonard and the Black List.
I’ll be interested to see if/when any actual sales come out of this. For now, it just seems like a way to milk the eager and hopeful. As an eager and hopeful myself, I’ve fallen for these too many times.
You said it Second Rodeo — this isn’t the first of these sites and it won’t be the last, but one always has to do a double take when you realize they’re charging the LITTLE GUY, not the producers/exes/agents to have access! Isn’t the first rule of business: go after the client with the Deepest Pockets? Oh, right, that won’t work in the situation because the Legit Deep Pockets know they can read material for free and already pay their underlings to hunt for scripts from the contests/lists/film schools across the country, so they would never pony up to join a site like this. Never have, never will. The poor aspiring writers have no idea that if their script was any good it will find its way into the right hands, without paying for a service like this. Bah on Blacklist for preying on the young and naive.
So basically pay $350 a year to have your script housed online and occasionally read by a paid reader with the off chance that someone in a position of power may someday read it. Sounds like easy money for Leonard and little hope for writers.
As a screenwriter who has sold a screenplay for huge money, yes, it’s a money-making scheme that will make Franklin even richer than he already is. It will sell some screenplays, much like Scriptshadow helped push THE DISCIPLE CODE, and will make every aspiring writer submit 50 bucks, then let the script sit as C-list managers scour the list.
And you know what? They’ll pass on some awesome scripts and awesome writers that pay their hard-earned money to get buried in the pile just like they did in Nicholl and other contests.
But that’s the writers problem, not Franklin’s. I’d rather Franklin pocket their money than Scriptshadow. These writers are getting fleeced, but at least Franklin’s capitalizing, not Chris Eads, who is universally reviled, even by his contacts.
What’s the problem with Scriptshadow?
What is script shadow?
Sorry, aspiring writers–insiders read and refer to the Black List. They don’t know of Script Shade or whatever it is.
I just wasted 30 minutes trying to pay my money for this site.
I finally upload my script, and it says “less than 400KB.” I have problems with my PDF creator with the new Final Draft, this is a common problem, so I know use PDF Simpo creator or what have you. It makes my PDF over 2MB, so the site won’t except it. Problem is, even my standard Final Draft document is 500, above the 400 it allows, so a normal PDF converter won’t let the site accept my script. And it’s only 98 pages, so it’s not like it’s a long one.
Dude, expand the limit of what it will upload to over 3MB, because you’re losing business as we speak. I WANT TO give you my money, but now I’m not going to bother unless it allows ease of use.
TAKE MY MONEY, even though I know this script is well-written and well-execute, yet won’t make it past the readers your paying 20 bucks per script, at best. Come on.