The impetus for 'Power' was me writing about my dad, who was an advertising executive and very interested in image. He thought that perception was reality and what people thought of you was what was real about you.

I think television is about the characters you want to see again, and so you want to invite these people into your home. And certainly, seeing them get into bad situations and then watching them have to get themselves out, that's always super satisfying.

I don't write scenes where one person is right and one person is wrong. It's very much by design that everyone has a point of view that you as an audience member can understand.

I think as long as I can tell you a story about people that you understand, it doesn't matter if you don't like what they do; you understand why they did it.

I think women judge other women more harshly, always, which is a shame.

As a writer of fiction, you don't ever want to limit the characters you create to the life you've lived. That's insanity to me.

I don't want to be seen in a way where all I can do is what people expect of me.

Being a writer is great because you get to come up with stuff.

Being a showrunner is doing a bit of everything. It's not just writing. It's also management: managing actors, managing producers, managing a crew, being kind to people, being a good boss, observing deadlines.

I'm seeing more and more people of color do what I do as showrunners, and that's so great. I would love to get to the point where we don't have to talk about it anymore.

I think it's really cool that someone could have ovaries and the presidency. Growing up, I thought I could never be president because I was black and female. Now I know that's wrong. Within my own lifetime - that's different. Within my lifetime, interracial couples are more common. Within my own lifetime, biracial folks are able to claim that.

I want to be a strong voice, period.

If you are other, you don't think twice about hiring people who are other.

If I weren't a showrunner, I'd be a much more accomplished mother; if I were not a mother, I would be a much more accomplished showrunner. I have to be okay with getting a B in both.

I am a black woman, and I'm proud of that, but as a showrunner, I want to think about what makes me unique beyond my race.

I always wanted to make a show that had everything I wanted to watch, as opposed to just one or two things.

My parents were 30 years older than I was, and my parents had my brother and I ten years apart. My parents grew up in segregation, and they both lived in all-black neighborhoods and grew up with large black families. I didn't have any of that, and I didn't understand feeling so differently and being treated so differently.

In college, I didn't know whether to hang out with the black kids or the white kids, and then I found the theatre kids, and I was like, 'Oh, it doesn't matter.' We were all weird and listening to Morrissey and wearing Doc Martens so that was my tribe.

I had to figure out that finding my place was not about race but about creativity, and connecting with other artists helped me find my voice.

When I was pitching 'Power,' I had an executive say, 'Well, I already have a black show.' He said that right to my face.

I am not going to say that only people of color can write people of color, because that means only white people can write white people, and that's not OK.

Every writer should be able to write anything if you do the research and you're sensitive enough to ask the questions.

The story always leads you where it's supposed to go.

I always ask the actors, 'What have you never done before?'

It's ridiculous that we let broadcast and cable shows compete against each other at the Emmys. They are not the same animal.

I love Pusha T and The Clipse.

There's hip-hop music in 'Power,' but the show is not about the hip-hop industry.

There's always going to be a part of me that wants an Emmy. Truthfully, I'm probably more motivated by people being entertained. I'm more motivated by people being like, 'Oh snap! Did you see that?'

When I watch television, I want to be surprised.

New York is the center of the world. I grew up in Connecticut, outside of the city, and my father commuted to the city for work.

If you look at the back pages of 'New York Times Magazine,' and they talk about these 6.5-million-dollar condos with a great view, like you're going to pay for a great view. Well, the top floor of the projects have a great view, too.

The revolution is that we can be anything. We don't have to be one thing or the other. The idea that it is my responsibility to represent only good black people... I mean, what are you talking about? That's not a character - that's a polemic.

You don't keep your job if you don't make a great show.

I had very much wanted to be the very first black female editor-in-chief of 'Vogue.' Barring that, I wanted to work at 'Entertainment Weekly.'

God is in control of everything.

There are so many different things that create an alchemy of success. Just like there are so many different things that create an alchemy of a failure.

When human beings say they have power, it always makes me laugh a little bit.

It was not something that ever occurred to me, to be able to be in TV. I was very lucky.

I'd say it's far more challenging to be female and be a showrunner. People are not surprised to see a black person running this show, but the female aspect is the thing that I get asked about.

When people watch 'Power' and they find out the showrunner is black, it's not surprising. What is surprising is that I am a woman and my background is not particularly urban.

My experience as a black woman in the industry is simply that often I was the only one in the room. Often I would be the only woman and the only person of color. Sometimes I would be one of several women but the only person of color. Sometimes I would be one of several people of color, but the only woman.

There's a difference between talent and skill. You might have writing talent, but skill is learned. You have to practice. I remain teachable. I was sure that I didn't know everything. People who work with me will tell you I don't think I know everything. I watch people sink around me thinking that they knew everything.

Any underrepresented audience loves to see themselves on TV, but what's more important is that we're writing about universal themes - good versus evil, can you change yourself? These themes resonate for everyone.

It... does... not... have... to... be... pointed out all the time. Like, 'Isn't it great that you're black, and you're a woman?' Isn't it great that the show's good? I would just love for it not to be a thing - for it just to be, like, super norm.

I remember watching episodes of 'The Sopranos' and being filled with dread knowing what was coming or anticipating what was coming. I don't think that that's always a bad thing. I think sometimes the audience needs a little catharsis held away from them.

Comedians are on the road so much that when they're just getting to act and sit in one place, they're really grateful and just ready.

Not many people get to create a television show that actually makes it on the air.

Obviously I'm not from 50's background - I'm from Westport, Connecticut, which is as far away from his background as you can get, right? Growing up in Westport, for a long time I was the only black person living there for miles.

Show-running is a very difficult job that includes so many responsibilities; I'm working with the actors, working with directors, writing, making decisions like, 'What fabric is that sofa gonna be?'