Michaela Coel

In Britain, we need to start presenting the option of being a writer in front of black women. We need to present the idea of being a writer into poorer communities because the majority of black people in this country are working class. We need to let working-class people know that their voices are important.

I don't believe in comedy as a TV genre - I think there's drama that is funny. Because beyond the laughs, there has to be cost, and there has to be heart.

I wanted to write a show about an estate that wasn't sad or morbid, like a lot of shows portray working class life to be.

When you've got African parents, you go to uni, do finance, and go into accounting. But I'm not good with systems. I dropped out in my final year of college to become a Christian poet. Then went back to do my A-levels and went to uni in Birmingham to do political science and theology. I lasted 12 weeks.

Growing up on our estate, we were all different colours, but we were all really poor. I never really realised that black was a problem for some people.

We live in a world where if you're white, an upper-class male of extreme privilege, and able-bodied, and you're nothing that takes you away from that norm, then you're going to have - then the world will not assign you problems because of what you are. That is actually the world we live in.

Where I grew up, in Aldgate, east London, one of the poorest boroughs in the country, I saw lots that was real - the bankers with their briefcases, the man next door with five wives, the illegal immigrants in Flat 5. I'm from a world you rarely see on screen, and I want to show it off.

To suggest things may be going on in our brains that we aren't fully conscious of, that we unknowingly make classist, sexist and racist presumptions... Well, there just aren't many comfortable ways to take that. And in the face of discomfort comes the mask of defence.

We need to encourage black women to know that they are authors of their own destiny, that they have important stories to tell, and that they are capable, so magically capable, of writing them and creating important pieces of work that will live forever in history.

Men are trained to like this version of womanhood, and when someone comes along smashing the table and messing up the party, it's a bit like, 'Get out; why are you disturbing the peace?'

If there's anyone out there that looks a bit like me, or just feels a little bit out of place just trying to get into performing, you are beautiful; embrace it. You are intelligent; embrace it. You are powerful; embrace it.

I actually thank God for television... it's not technology, it's storytelling. Technology is saying, 'Do less, do less, do less.' And I don't think it's healthy, no.

I feel that when you want to start attacking people or completely rejecting the people you see as not on the godly side, to me, that isn't God, and that isn't love.

The unpredictability of the weather, the increasing possibility of intelligence introducing a species more powerful than ours, the growing uncertainty that animals can or should be slaughtered for our pleasure, has led many of us to start asking more complex questions about what is and isn't normal.

Black isn't something I became after a car crash that I've been dealing with ever since. I'd like the colour of my skin to not be a factor in my life at all.

In drama school, they do these big shows and period dramas, and I felt that none of those shows were representing me as a person, and I knew I wouldn't be cast in any of those when I left school. I decided to write my own one-woman show, and that was called 'Chewing Gum Dreams.'