What first inspired you to become a writer?

I can’t really remember having a particular epiphany about becoming a writer. I never knew any writers or journalists growing up but I was lucky enough to have great English and drama teachers. It was a fairly standard education at the local comp but there was a real focus on stories and reading aloud and devising plays together. It’s that kind of classic starting point of having inspirational teachers who open the world up for you.

How did you break into the industry?

I took out a career development loan and applied to the Northern School of Film and Television to study screenwriting. At the time it was a very pragmatic course, lots of industry involvement and engagement. I was very fortunate that I had two mentors whilst I was there, Tom Needham and Jan McVerry who really supported me, introduced me to their contacts and helped me get my first jobs. I don’t underestimate the difference they made for me at the start of my career.

How important is networking? Is raw talent enough?

I hate the word ‘networking.’ I just picture writers standing around, awkwardly dropping canapés. But of course, it’s important to have mentors, people to hold the door open for you and help you to navigate the industry. It’s useful in meetings to know who the decision makers are, to have people who will recommend you and support your work but ultimately, you’re judged by your writing. 

What qualities does a writer need to succeed?

It’s an odd job, I think. For a lot of the time you’re dealing with the isolation, the pressures of juggling projects and deadlines on your own and the rest you’re negotiating the barrage of notes and production pressures. Maybe the quality you really need is the ability to zone down, focus on your story and how you want it to connect with the audience. If you don’t get that bit right, none of the rest really matters.

"I hate the word ‘networking.’ I just picture writers standing around, awkwardly dropping canapés."

Which part of writing Prisoners' Wives did you find the most challenging, and how did you overcome it?

It’s a big step from writing episodes of other people’s shows to leading your own. For me, the biggest challenge was the point where the process kicked into production. It stops being about you on your own, scribbling away in your pyjamas and moves into this big team sport. It was about learning to control the bits I could and helping to create a space where everyone felt very invested in the show - without losing sight of the stories and characters I’d spent so long developing. 

What have you learnt about writing so far that you wish you’d known at the start?

Never underestimate the power of good collaborators and always value those relationships. Script editors who develop the work and challenge you to be better, producers who protect your vision, directors who welcome your presence on set and engage with you creatively. It took me a while to realize that with the right people around you, writing’s not such a lonely job.

What single piece of advice would you give to someone trying to break into screenwriting and get noticed?

Don’t expect it all too happen at once. There’s not some kind of magical doorway, this miraculous threshold you cross and suddenly you’re a screenwriter. But if you are good enough, you will get noticed. For me, that’s the most exciting thing – there’s an underlying meritocracy in screenwriting. Doesn’t matter which parties you go to, or which school – you need to be able to do it on the page.

Julie Gearey is nominated in the Breakthrough Talent of 2013 category for her role as Writer on Prisoners' Wives.