The Black List’s Bold Expansion: From Hollywood Scripts to Literary Manuscripts
Franklin Leonard’s Black List has revolutionized the entertainment industry. Since its inception in 2005, this online platform has become the go-to resource for discovering and promoting emerging screenwriters. Boasting an impressive track record of 54 Academy Awards and 267 nominations from films like The Social Network, Edge of Tomorrow, Selma, and Don’t Worry Darling, all initially submitted to the Black List, its influence is undeniable. But Leonard’s ambition extends beyond Hollywood. In a bold move, he’s expanded the Black List into the world of publishing, aiming to disrupt the literary landscape in the same way he transformed screenwriting. This expansion, however, presents a unique set of challenges, requiring a nuanced understanding of both the similarities and differences between the film and publishing industries.
Leonard’s initial motivation, as he himself explains, stemmed from a desire to address a pervasive problem: "I knew there were great writers and great scripts that existed outside of the Hollywood ecosystem," he notes. "I wanted to find a way for that to benefit everybody." The Black List’s success in Hollywood was built on a simple yet effective model: a curated list of promising screenplays, accessible to industry professionals. This model, built on a foundation of transparency and meritocracy, circumvented the traditional gatekeeping mechanisms that often hindered talented, undiscovered writers. By providing a centralized platform for high-quality scripts, the Black List significantly leveled the playing field and helped countless writers achieve recognition and success.
The expansion to books, however, isn’t merely a replication of the successful Hollywood model. Leonard acknowledges the inherent risks: "It’s not a great look to be like, ‘I’m from Hollywood and I’m here to save you.’" This self-awareness underscores a crucial difference between the two industries. While the film industry operates with a relatively streamlined, albeit competitive, structure, the publishing world is more fragmented, presenting a more complex challenge.
To navigate this complexity, Leonard has collaborated with Randy Winston, a prominent figure in the literary world, bringing decades of experience and expertise to the table. Winston’s insights into the nuances of the publishing industry are invaluable, ensuring that the Black List’s expansion is not merely a surface-level adaptation but a carefully considered strategy. The model itself also reflects this adaptation: writers create free profiles, upload their manuscripts for a monthly fee ($30), and can opt for professional feedback ($150). Similar to the flagship screenwriting list, the best manuscripts are highlighted in Leonard’s subscriber newsletter, guaranteed exposure to key publishing professionals.
The fundamental problem the Black List aims to solve in both industries is the same: the overwhelming volume of submissions. As Leonard aptly states, “There are more screenplays written every year than any one person could read, or any small group of people could read. There are more novels written every year than any editorial staff of a publishing house could read.” This sheer volume makes it nearly impossible for truly talented writers to break through the noise, leading to missed opportunities and a skewed representation of available talent.
The reluctance of traditional institutions – both in Hollywood and publishing – to embrace reform stems from several factors. Inertia inevitably plays a role; established systems, despite their flaws, tend to resist change. Beyond this, there’s also the entrenched power structures that benefit from the status quo. Established agents, publishers, and studio executives often have vested interests in maintaining their control over the selection process. The sheer risk involved in disrupting such a well-established system also plays a part. The Black List’s success, therefore, is a testament to Leonard’s ability to navigate these challenges and offer a viable alternative. It’s a model built not just on identifying talent but on fostering a more equitable and transparent system.
While there are parallels between Hollywood and publishing regarding the sheer volume of submissions, there are key differences. For instance, Hollywood has a more centralized structure, with major studios and production companies holding significant power. The publishing world, however, is far more decentralized, with a larger number of smaller publishers and literary agents vying for attention. This fragmentation poses both a challenge and an opportunity for the Black List. Its ability to aggregate high-quality manuscripts and connect them with a broad network of agents and publishers could significantly alter the power dynamics within the literary landscape. The success of such a venture would depend on its ability to engage with this fragmented system and convince publishers to embrace a new, more efficient model of discovering and developing talent.
The Black List’s success in Hollywood wasn’t accidental. It leveraged several critical factors: a meticulous curation process, ensuring only quality submissions were considered; transparency and accessibility, allowing both established and emerging writers to participate; and strategic partnerships, giving writers access to industry gatekeepers. In expanding to the publishing world, the Black List must leverage similar strategies, adapting them to the unique characteristics of this environment. This requires understanding the different preferences and priorities of literary agents and publishers, building trust within the community, and demonstrating the tangible benefits of this new model – increased efficiency, access to a larger talent pool, and potentially, higher quality literary acquisitions.
Furthermore, Leonard’s emphasis on expert feedback offers a valuable element that can differentiate the Black List from traditional submission methods. This is where the platform provides an added layer of value, offering aspiring authors personalized guidance and support. This feedback doesn’t merely improve manuscripts; it ultimately empowers writers with the knowledge and skills to navigate the publishing world effectively. This level of support is a crucial element for authors, particularly those without established connections in the industry. By investing in this level of service, the Black List isn’t simply serving as a submission platform; it’s also fulfilling a mentorship role, further establishing its commitment to supporting writers and building a sustainable and more equitable publishing ecosystem.
In conclusion, Franklin Leonard’s expansion of the Black List into the world of books represents a daring endeavor, one that could potentially reshape the publishing industry as profoundly as it has reshaped the screenwriting world. While the challenges are considerable, the need for a more efficient and equitable system is undeniable. The platform’s focus on meritocracy, transparency, and personalized support, combined with Leonard’s strategic partnerships and a deep understanding of both the film and publishing industries, positions the Black List to potentially achieve similar levels of success in the literary world. The future will depend on how effectively it adapts its model to the unique landscape of publishing and fosters strong relationships with agents, publishers, and the writing community at large. The impact, however, could be substantial, potentially opening doors for thousands of talented authors and fundamentally transforming how stories are discovered and shared.
