Celia Aniskovich discusses how Switchboard Magazine discovers new intellectual property.

      Celia Aniskovich is a documentary filmmaker based in New York and the founder and editor-in-chief of Switchboard Magazine, a digital platform that offers rich, character-driven long-form nonfiction narratives and acquires short films. In the following piece, she discusses how these works create a varied collection of original content intended to serve as intellectual property for adaptation into television and film projects.—M.M.

      The issue is clear: the process of making movies takes an excessively long time.

      By the time a nonfiction story is reported, optioned, developed, and perhaps — if lucky — turned into a film or series, many years have already gone by. Too many compelling stories remain stuck in the gap between discovery and screen adaptation. And those that do reach the screen? Historically, they have emerged from a limited perspective, leading to a scarcity of diversity in both the stories presented and the voices heard.

      We established Switchboard Magazine to bridge that gap. The concept was straightforward: to create a system that operates more swiftly, efficiently, and effectively gets stories in front of those who can advance them. Additionally — and this is vital — to ensure that the process appreciates the essence of the stories, honors ownership, compensates the artists involved, and promotes a broader, richer array of voices.

      The Challenge of ‘Good Intentions‘

      Celia Aniskovich, filmmaker and the founder and editor-in-chief of Switchboard Magazine. Photo courtesy of Switchboard.

      One of our board members bluntly stated: “You can have the noblest ideals, but if the model is flawed, people will regard it as a sentimental experiment, not a workable path to success.” That resonated with me.

      In Hollywood, ethics and success are sometimes seen as incompatible — as if valuing artists and their creations contradicts the pursuit of profit. At Switchboard, we aimed to demonstrate the contrary: that it is possible to create a profitable model while ensuring artists are compensated for their contributions. You can engage in beneficial practices and still achieve success.

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      That’s why we designed Switchboard to include a 50/50 profit share with our writers and filmmakers. We also ensure contributors understand what they are agreeing to (these are real people and non-fiction!).

      Before publication, we obtain appearance releases for documentary adaptations and secure life rights for scripted adaptations — not merely as formalities, but as genuine agreements that guarantee the individuals whose lives inspire these narratives have a financial stake if a film or series is produced. This ensures a clear transition from page to screen, preventing surprises for those whose stories may be showcased. Transparency is integrated from the beginning.

      Why Stories from Switchboard Magazine Gain Traction

      Drawing on our experience as filmmakers, we approach every nonfiction piece as potential intellectual property. Our articles are constructed like films — featuring arcs, characters, and tension — and the shorts we select are character-focused and market-ready. The objective is to maximize each story's chances of extending beyond the written page or festival circuit.

      This approach is already yielding results. We’ve optioned several pieces to industry leaders and received substantial interest in the narratives we’ve highlighted. Not due to compromise, but because we position stories to navigate the system more quickly, clearly, and ethically.

      The Collective Experiment

      This autumn, we implemented one of our models in a tangible way. Switchboard acquired four shorts for consideration for the 2026 Academy Awards — “Freeman Vines,” “Poreless,” “Rat Rod,” and “Saving Superman.”

      Even with this expansion, the films remain closely aligned with Switchboard’s mission: all grounded in true stories or lived experiences, and all embodying themes that signify something greater than themselves.

      For us, these films are not merely releases — they serve as proofs of concept. Similar to our written features, they function as intellectual property that can evolve into new formats, whether as series, feature films, or other adaptations. By integrating festival-acclaimed shorts with Switchboard’s infrastructure, we illustrate how nonfiction stories can transition more rapidly, transparently, and with artists at the forefront.

      Rather than pitting them against one another in a crowded awards season, we launched a collective campaign. Collectively, these shorts have participated in over 100 festivals globally, receiving jury and audience awards at events like Tribeca, HotDocs, Palm Springs, Indy Shorts, and more. Instead of competing for limited attention, the four teams are supporting one another — sharing resources, enhancing visibility, and collaborating as a unified front.

      Additionally, we are distributing them through Switchboard’s YouTube channel, embracing a digital-first strategy aimed at democratizing access, increasing visibility, and engaging audiences beyond conventional distribution methods.

      Our aim isn’t merely to demonstrate that collaboration can be beneficial. It's to validate that this pipeline — progressing from article or short film to visibility, awards, and adaptation — is genuinely effective.

      Lessons for Other Filmmakers

      Building Switchboard has reinforced some lessons I