Bo-sco Launches! Discover the Future of Digital Literary Scouting Now!

Today marks the launch of a new literary scouting subscription platform originating from the UK.

Named Bo-sco, this initiative is the creation of Arianna Reiche, a novelist and media researcher, who introduces the service with a focus on gathering and sharing information about intellectual property (IP) that is ready for optioning by producers and development executives.

Bo-sco aims to provide its subscribers with a monthly report spotlighting “overlooked, optionable literary IP.” It will feature seven selected titles each month that have not yet been circulated among development executives, rather than summarizing already popular materials. Reiche is supported by a dedicated team of researchers, including regional partners across Europe, Latin America, and Cantonese-speaking regions.

The service is primarily designed for producers and development executives but is also intended for use by agents, managers, and writers.

Reiche believes there is an “enormous body of screen-ready material” out there, ranging from short fiction and novels published by small presses, to backlist and estate catalogs, works by emerging talents from non-mainstream literary backgrounds, early-stage manuscripts, and digital IPs.

The subscription cost is set at approximately £39.99 monthly or £429.99 annually (equivalent to about $54/$582), a price point Bo-sco claims is significantly less than hiring a full-time literary scout.

Reiche noted, “In my experience, screen development teams are truly eager for new stories; they simply lack the time, and the tools that are available to them haven’t kept up with the breadth of what’s available for optioning.”

“Bo-sco is founded on the principle that the most compelling IP often isn’t the most obvious – suggesting that the journey from a great book to a great screen adaptation can be shorter, more intelligent, and more creatively vibrant than it currently is,” she added.

Arianna Reiche, author of Warden / Star and At the End of Every Day, brings her background in screen development and media research, including her experience working with Netflix on development projects, to this venture.