When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
I went to journalism school, so sometimes writing the script of 'Being Mary Jane' is me putting my journalism hat on.
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I was nurtured by Ralph Farquhar and then, later, by Sara Finney-Johnson and Vida Spears, two black women. So, I actually was nurtured by my culture, in a safe environment that allowed me to build my confidence. And Debbie Allen was one of my mentors, along with Stan Lathan.
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I love writing about black women, but if you go beyond that, we're human beings - and because we're human beings, it's universal for everybody.
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When I was in '97, I didn't know I was in a very major moment. But with the privilege of reflection, I do. And that's what artists should do - they should help illuminate and reflect the human condition.
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It's funny that black men, at first, were worried about a show called 'Girlfriends' because they thought that black men were gonna get bashed. They realized, 'Wait a minute - we're respected in this story.'
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I'm trying to talk about challenging subjects people might not like and trying to find relief as we discuss it.
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Where I thrive is with my hands on the keyboard or my pen on the paper. One of the things I get to do is I get to rewrite. I rewrite, and I work hard on my scripts. You can rewrite until you're 'perfect,' and that's something that's safe for me.
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To choose love and jump in not knowing, with a lot of unknowns, is a brave act.
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In 'Girlfriends,' I was exploring the idea of having it all. In 'Being Mary Jane,' I was exploring the idea that you have to be the center of everything.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
