Nahnatchka Khan

You can be a successful woman and also be vulnerable, and that's important to show people.

I've read many great samples, both of existing shows I liked and original pilots, and definitely hired the writers - or, at least, tried to!

Not everybody can see every moment of their life displayed by one set of people. It's just not going to happen.

If you take a step back, you realize that the TV landscape really has been... There have been some amazing shows in terms of representation, but not for Asian people.

My parents certainly didn't understand TV comedy. They wouldn't turn on 'Married... With Children' and laugh.

Whatever I do - whether it's directing, producing - I just come at things from characters, from stories, from jokes and scene rhythms. I'll always have that at the epicenter, I think.

You don't have to be just one thing. I think that applies to women in front of and behind the camera.

With 'Always Be My Maybe,' this has to be funny; this has to be entertaining. And then, when we stop for these moments with the characters that are emotional, you kind of feel it more because it's a little bit unexpected.

I personally feel like the end product is always better when you can make a collective. It's like a band. You can have a bunch of individual great musicians, but when you come together, there's a sound that it creates that you couldn't do on your own.

In terms of leadership, you've got to allow for people to be amazing and to contribute in a way that's meaningful. You can't hold on so tight that people don't get a chance to do what they do best.

In comedy, it's so subjective; there is no right or wrong.

The family sitcom has been around forever, since the advent of television. I don't need to reinvent it. But if you take something and you do it in a way that you haven't necessarily seen before, that's right where I live.

Cable shows do 13 episodes. I get that. I can wrap my head around 13 episodes. You make them all, you post them all, and then you get to air them. The network cycle is way more intense. There's more episodes.

Randall Park and Ali Wong, they are so many things; they're not just one thing, they're bigger than just their identity.

Working in network sitcom arenas, whenever you decide to depart from the norm and tell a story that's not typical, I think you're always a little bit nervous.

Sometimes you can feel the gears shifting in scripts, like really trying to make something work that feels sweaty for whatever reason. I really enjoy reading material that just flows - it's definitely a skill to make something feel effortless.

Norman Lear was talking about everything in the '70s... race, sexism, all of it. The network comedy really stayed away from that in the 1980s and 1990s.

'Seinfeld' was an amazing show. It's iconic and defined a whole generation of comedy writers - but by their own admission, that show was about nothing.

If I waited to write only for a Persian lesbian, I'd still be waiting. But I can write for straight white men because those are the jobs.

If you want to be a writer, you have to learn to write in other people's voices until you get the chance to write in your own.

Not to say that I saw myself in the Iron Sheik, but our whole family would gather around the TV on Saturday and watch the Iron Sheik wrestle. And he was the bad guy, so everyone else was booing him and cheering whoever he was fighting - it was the opposite in our house.

I'm not Chinese, but both of my parents were born in Iran; my brother and I were the first ones born here. First in our family to go to college, that whole thing.

When you're writing a pilot, unless you already have an actor attached to the project, you're writing it with all the voices sort of in your head. Once you actually cast it, the actors become the voices of the characters, and you start to write for them and their strengths.

In the writers' room, the challenge is always to tell interesting stories in unexpected ways, so we try to never limit ourselves in how we accomplish that.

'Modern Family' is unique in that it's telling the story of three different families, which is a huge amount of characters to service.

The idea of dealing with success is always interesting to us: You spend so long struggling to make good, and then what happens when you finally do?

I grew up watching television as a kid. It was always something I wanted to pursue.

The first time I ever wrote anything, it was an editorial column for my high school newspaper.

I went to USC and got my first break writing for a kids' show called 'Pepper Ann.'

The more visibility, the more opportunities for Asian-American actors to play great roles. It goes to the studios opening up roles they might not have considered Asian actors for. The talent is there. I don't think there needs to be one superstar, but having more roles open up, that's the way changes happen.

Writing in another person's voice is a skill you have to develop when you're working on someone else's show. But if you can maintain your perspective, that's what will make you stand out.

Find like-minded people who are on the same page as you, and then lift each other up.

If you try to describe NASCAR to anyone, you sound crazy.

Using humor as a wedge into different kinds of stories is my go-to. I think anything I do would have some sort of streak of humor in it.

Some people don't have a sense of humor about certain things, and other people do.

Stuff starts to feel stale comedically when you're just rehashing things, so putting together a writers' room where the majority is made up of people who have not been the focus of the story, it flips everything around.

This is going to sound weird, but when I was a little kid, the Iron Sheik was really big in our house.

Having a range of perspectives allows you to tell stories through a different lens and approach things from fresh angles. If you're straining everything through the same filter, you're always going to wind up with the same product.

Networks love data. They love to be able to look at numbers and try to predict what they think will work.

It's cool to be able to use comedy as a way to make people feel like they're a part of a bigger collective rather than as a way to divide.

Sometimes you can't really control the language around you. All you can do is follow your voice and your path - dedicate yourself to stories that matter.

When you take stock, there are so many more choices and points of view that are necessary.

Special things happen when you center people who haven't been centered before.

You can be layered and more than one thing - you can exist outside of the box.

When you start out as a TV writer, you get a lot of pressure from outside forces to fit into what they think people want.

I never had a backup plan. I've only been good at one thing. I admire people who are jacks-of-all-trades. That's not me.

I've always been passionate about movies, TV, and writing, and I've been working so hard at it for so long. There were lots of setbacks, but I loved it so much, there was no alternative.

'Fresh Off the Boat' will be syndicated. This show and these characters will live forever in the pantheon of classic family sitcoms.

For immigrant families, television is what connects you to American culture, but it's also what makes you feel like an outsider.

When we were growing up, the only person we saw on TV that vaguely resembled us was the Iron Sheik - the pro wrestler whose signature move was the 'Camel Clutch.'