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Do you have practices or anything else that grounds you, or enables you to step away from the news (however briefly)? I put a strong limit on the amount of time I spend watching the news and scrolling. I pretty much engage in it first thing in the morning, then I cut myself off by 9 a.m. and spend most of the day working. Then I’ll check back with the news in the evening. After working at Full Frontal, which forced me to engage with the news 24/7, it became really important to me to put boundaries on it. One of the things about being a writer is that you sort of have to shut off your brain enough to go to a creative place, so for me, exercise or taking a walk or doing something that puts your brain in a different mode—almost tiring yourself out!—is really helpful.
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Do you have specific comedic inspirations when you’re writing sketches? Not so much. I like to watch not comedy: I like to watch drama movies and TV shows, or things of very different genres, like opera or performance art, and try to make those my references, rather than other comedians. Do you have a favorite sketch from this season of A Black Lady Sketch Show? “The Invisible Spy” is one of the sketches that I get the most feedback about, and what makes me feel really proud about it is that people feel really seen by it in a good way. For marginalized people, a lot of our experience with comedy is being the butt of the joke, so it’s really exciting when somebody comes up to me and says, “I felt seen by that sketch in a good way.”

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