Screenwriter Ronan Bennett urges creatives to ‘ignore the algorithm’ at South Series

Ronan Bennett with the South International Series Festival’s International Honorary Award

SOUTH SERIES: Cádiz-based Irish screenwriter Ronan Bennett urged creatives to “ignore the algorithm” and find their own voices when developing stories after being honoured at a TV festival in the Spanish city.

Bennett, who is behind series including Top Boy (Netflix), MobLand (Paramount+) and The Day of the Jackal (Sky Atlantic/Peacock), received the International Honorary Award at the South International Series Festival.

After reflecting on his career and sharing his views on the market, he urged storytellers to use their own voices.

“Personally, I would ignore the algorithm. At the end of the day, we know how algorithms work: if you click on five pictures of a beach on social media, suddenly you get another hundred pictures of beaches, but the next day it will be something completely different,” he told C21’s Spanish-language sister publication Cveintiuno.

“As screenwriters, what makes us special is our own voice,” he added.

Bennett acknowledged that his situation is different from that of many other screenwriters, given his achievements in the industry.

“I’m in a fortunate position because I have a track record and a certain level of success behind me. I don’t know much about the algorithm or what it wants. I think about what I want to offer them and try to convince them,” he said.

“My experience with streaming platforms, and production companies too, is that if they believe audiences will watch something, they will make it.

“It doesn’t matter what it’s about, but you have to be convincing. When you go into a meeting, you need to be very clear about what you’re pitching. Offer them your voice and do it brilliantly.”

Bennett highlighted the importance of teamwork among writers and shared insights into the craft.

“Although it may sound very mechanical, when telling a story it’s essential to know where each element belongs. Does this scene belong here or somewhere else? How do we build the story? It’s a bit like the scaffolding around a house: you have to put it in the right place.”

The scribe also advised writers to understand the nature of the project they are working on.

As examples, he pointed to two of his gangster series, which are very different: “For Top Boy, I had to do extensive research because it’s an example of authenticity. With MobLand, on the other hand, I didn’t, because it isn’t trying to be authentic. It comes from the imagination.”

Contrary to many in the industry, Bennett also argued that the audiovisual sector is currently in a good place, with “a huge appetite for content.”

“In the past, there were only two buyers in the UK: the BBC and ITV. If both said no, the project was dead. Now there are dozens of possibilities,” he said.

As well as advising writers to use their own voices, he warned them: “Nobody is going to come knocking on your door, so be proactive.”