Creative Project Planning

I started Essajees Atelier in a highly competitive industry, and it nearly broke me mentally because I was: > Hungry for work > Desperate for clients > Didn’t want to say "no" to work So, I took on clients who neither valued my work nor me. Now, with nearly 2 decades of experience, I wish I could tell anyone in my shoes these 6 things: 1. Think like the buyer: Don't chase every client desperately. Instead, look for the right clients. This mindset shift changes everything. You're offering valuable expertise. 2. Your 1 best work is worth 10 bad projects: Quality >>> Quantity, always. So I would tell myself to focus on excellence, not numbers. A single great client can lead to a beautiful portfolio piece and future referrals. 3. Trust your gut feeling: Energy and vibes matter more than you think. Bad matches lead to stress, heartbreak, and subpar work. If something feels off during initial meetings, it probably is. 4. Take your time to interview clients: Ask tough questions and do background checks. Make sure the client's vision aligns with yours. A proper vibe check isn't just nice – it's essential for project success. 5. Being selective isn't a privilege, it's smart: You don't need hundreds of inquiries to be choosy. Even with few options, prioritize clients who resonate with your values. The right fit brings out your best work, regardless of your experience level. 6. Low conversion rates are okay: We now convert very few inquiries into actual clients at Essajees Atelier. This ensures we work only with our ideal clients, leading to better outcomes for everyone. Remember, we're not just selling a service but actually curating experiences and relationships to last years. What's one thing you wish you knew when starting your business? Share below! #Entrepreneur #Interiordesign #Business #Lessons

The immersive entertainment market is worth $95.6 billion. It’s growing 24% over the next decade. Everyone wants in. We’ve seen this before. A format works. Everyone copies it. The audience gets bored. No one understands why. We’ve seen it with Van Gogh. Then every painter got the same treatment. We’ve seen it with escape rooms. Then every brand had one. We’ve seen it with immersive dining. Then every restaurant added fog machines and called it an experience. Now it’s music’s turn. Major labels are announcing « new immersive experiences with avatar » Publishers are selling rights. Tech companies are building virtual concerts for artists who could simply… tour. Let me back up. ABBA Voyage worked because it was earned. They were gone for decades. Fans missed them. The show had a reason to exist beyond “let’s use new technology.” Most of what’s coming won’t have that. That creates volume. Not meaning. The real question isn’t “can we build it?” It’s not even “will it sell tickets?” It’s: does this need to exist? Immersive formats are powerful tools. Like any tool, they become dangerous without a clear purpose. We don’t need every legendary artist resurrected in a headset. We need producers brave enough to say no when the format doesn’t serve the work. The market will oversaturate. It always does. The ones who survive will be the ones who stayed selective. The ones who had a real reason for it to exist. If you’re a producer or creative director building immersive experiences, here’s what this means: 1. “We can build it” is not a creative brief. The technology exists. That’s not enough. Your first question is still: why does this need to exist? 2. Selectivity is your competitive advantage. When everyone says yes to immersive, the producers who say no, when it isn’t earned, will stand out. Restraint is a positioning decision. It’s not a creative limitation. 3. The window is closing. Oversaturation erodes audience trust fast. The experiences built with real intention in the next 18 months will define what the format means long-term. The ones built to chase the trend will accelerate the crash. ⸻ I write about this every week. Follow if it lands. 👆

A producer called me recently and asked what secret list they needed to get on. They felt like they weren't getting our best directors and wanted to know why other production companies were getting stronger options. There's no secret list. But there is a pattern. That particular company has a history of late payments. They don't pay for treatments. They don't provide treatment assistance. And their communication through the pitch process is sparse — directors often don't hear anything until they've either won or lost. When a production company is engaged with their directors, pushes to get what they need to support their vision, and has frank conversations about what is and isn't possible while always trying to find solutions, the treatments that come back are focused. Directors invest real time because the process respects their time. When the budget's undisclosed, the creative's still in flux, and there are eight directors in the mix, the opposite happens. The best directors either pass or send something safe. Why spend four days on a treatment when the odds are stacked and the goalposts might move? I've watched the same director deliver two completely different levels of work for two different production companies in the same month. The difference wasn't the brief. It was the conditions around it. Production companies that run clean processes don't just attract better treatments. They attract better directors. The ones who can afford to be selective will select for the companies that treat the pitch like a partnership instead of a lottery. There's no secret list. There's just how you run your process.

I've seen professionals who: - Chase every opportunity that comes their way. - Spread themselves too thin across multiple projects. - Burn out trying to do it all. I've been there too. For years, I said yes to: - Every speaking engagement offered. - Any collaboration proposed. - Every "good" opportunity that crossed my path. The common advice I heard: ~Never turn down an opportunity. ~You miss 100% of the shots you don't take. ~Success comes from saying yes. But I've learned a crucial lesson: Saying yes to everything means saying no to focus. Why did I start saying no to good opportunities? - To create space for great ones. - To deepen my expertise in specific areas. - To maintain my energy and passion. It's counterintuitive, but saying no has led to: ✓More meaningful work. ✓Stronger professional relationships. ✓Accelerated growth in my chosen niche. The hardest part? Overcoming the fear of missing out. But remember: Every yes is a no to something else. Your time and energy are finite. Invest them wisely. Saying no to good opportunities isn't about limitation. It's about intention. It's about making room for the extraordinary. What's your experience with selective opportunity-taking? #linkedingrowth #linkedinforcreators

In 2025, I turned down 50+ projects and took on only a total of 7 projects. Most projects aren't just a fit for what we do. The industry rewards volume with more clients, faster timelines, constant output. But I've learned that saying yes to everything is the fastest way to dilute the work you're actually capable of. When you're stretched across too many projects, you can't give any of them your full attention. And the clients who deserve your best thinking end up getting a fraction of it. Most designers I know struggle with saying no. We're taught that turning down work means turning down opportunity and losing margins. But the opposite is true. Saying no to misaligned projects creates space for the ones that energize you the industries that pull you in, the visions that challenge you, the partnerships where you genuinely care about the outcome. That's when the work stops feeling transactional and starts feeling like something you're proud to put your name on. Quality, passion, and genuine care for the client's goals will always matter more than volume. It's not about being selective for the sake of exclusivity. It's about protecting your ability to do work that actually matters to you, and to the people you're building it for.

Everyone says: “Know your worth.” “Say no to what doesn’t align.” “Only work with dream clients.” But when the invoices are small, the bills are real, and you're just trying to get things off the ground - saying yes to everything feels like survival, not a compromise. And that makes things murky. You start convincing yourself: "This one gig won’t hurt." "I’ll just manage the red flags." "I need the experience." "I can’t afford to say no." But here’s what I’ve learned - the hard way: 🚩 The client who doesn’t respect boundaries on Day 1 won’t magically evolve. 🚩 The project that feels off before it starts usually ends up costing more than it pays. 🚩 The early ‘yes’ that feels like a win often leads to long-term drain, not growth. Being selective doesn’t mean you’re arrogant. It means you’re protecting your time, your energy, and your standards even when they’re still under construction. It’s not easy. It feels counterintuitive when you’re building. But the truth is: not every project is worth the price your peace will pay. And if it costs your integrity or identity, it’s already too expensive. #HardTruths #FoundersLife

The reason I prioritize my personal and professional projects equally is just a matter of mental health. I need to prove to myself that I am capable of excellence and feel that I am fulfilling my potential. I also want complete control. Not of the work per se, but of who is doing it and whether it’s good enough. And if it's going to be a disaster I'd rather see the reason in the mirror. Yet the reality of any creative profession is that such circumstances do not exist — or if they do I’ve never experienced them. Virtually every company that is large enough to have agency partners, hire their own architect, or appoint their own creative director is going to be a big, commercially-driven machine operating under heavy constraints, within a complex political structure that is laden with cultural precedents. There will also be a broad spectrum of attitudinal dispositions, expertise and ability among the workforce — talent is normally distributed when you’re into the thousands of employees. These aren’t criticisms, they are facts of life. Unsurprisingly, multi-billion dollar companies are not designed to placate the creative whims and appetites of an individual who doesn’t even work for them. So one must look elsewhere for ultimate creative fulfillment, if one desires such a thing. This is a crucial point for the mental health of any creative professional. You will probably never do your best work at work. You need to be emotionally engaged enough that you always try — optimism is a moral duty if you ask me. But not so emotionally engaged that it scars your soul when the outcome falls short of what is possible. This is why I always encourage creative people to have side projects. Ideally one large one. Something to pour your passion into, develop your skills, fuel your inspiration and serve as a reminder of who you really are, as a counterbalance to a worklife where you often have little control over outcomes, however hard you may try. To date I've written three books to this end, made two photography books a year for eleven years, built a handful of custom and racing motorcycles, and now am slowly but surely conquering my airstream renovation. These projects aren't luxuries to me. For the last decade and a half, I've needed them to not lose my mind.

Reminder: not every project that pays is worth taking… Last month we turned down a £20k project. Good money. Interesting challenge. Timeline worked. But something felt off. In the discovery call, they kept talking about features. More features. Complex features. Features their users would probably never touch. When I asked about their marketing team's current pain points, they didn't have clear answers. When I asked what success looked like, they talked about visual impact, not business outcomes. Red flags everywhere. After closing Grizzly Bear and then building Shrink Studio | Webflow Certified Partner London over the last three years, I've learned that wrong-fit clients don't become right-fit clients. Revenue from bad projects costs more than it pays. We could have built what they wanted. Would have been bloated, over-complicated, ultimately not that useful. And in six months they'd have been unhappy, we'd have been frustrated. Nobody wins. Three years ago, when I had £4,500 in my account, I would have taken that project. Needed to. Now we're selective. We work with clients who value the same things we do - speed, autonomy, impact, results over features. Honestly, that’s a really lovely place to be in! Every “no” makes space for the right “yes”...

The Magic Word: NO! 🛑Saying "no" to certain projects or clients in the production industry, or any freelance field, can indeed have several advantages, especially if there are red flags indicating potential issues. Here are some of the key benefits of being selective about the jobs you take: 🛑Maintaining Professional Integrity: Turning down jobs that don't align with your values, ethics, or standards helps maintain your professional integrity. It ensures that you're not compromising on the quality of your work or your personal principles for the sake of a paycheck. 🛑Avoiding Stress and Burnout: Projects with red flags often lead to stressful situations, unrealistic demands, or problematic client relationships. By saying no, you can avoid these negative outcomes, helping prevent burnout and maintaining your mental health and well-being. 🛑Focusing on Quality and Passion Projects: When you're not bogged down by unsuitable projects, you have more time and energy to devote to work that truly excites you and allows you to produce your best work. This can lead to higher satisfaction and potentially more impactful or rewarding projects. 🛑Building the Right Portfolio: By choosing projects aligned with your career goals and expertise, you can build a more coherent and impressive portfolio. This helps attract the type of work you want to be doing and the clients you want to work with. 🛑Improving Professional Relationships: Saying no to a project can sometimes be in the best interest of both you and the client if the fit isn't right. It leaves room for opportunities where you can fully meet or exceed expectations, fostering positive relationships and referrals. 🛑Enhancing Negotiation Power: Demonstrating that you are selective about the projects you take on can actually increase your perceived value in the market. It shows that your skills are in demand and that you prioritize projects that are a good fit, which can lead to better rates and terms in the future. 🛑Personal Growth: Turning down projects that don't align with your current skills or career direction can give you the time to upskill or diversify your capabilities, making you more competitive and versatile in the long run. 🛑Financial Stability: While it might seem counterintuitive, saying no to problematic projects can lead to greater financial stability. Projects full of red flags 🚩 often result in scope creep, delayed payments, or additional uncompensated work, which can ultimately harm your financial health. Saying "no" to certain projects allows you to better manage your workload, focus on high-quality work, maintain healthy professional relationships, and ultimately guide your freelance career in a direction that aligns with your goals and values. 🙌🏻

The Power of NO To grow my career as a commercial photographer, I’ve embraced the power of saying “NO.” It has been transformative. When I was starting out, I feared turning down opportunities, believing that success meant taking every job that came my way. I rearranged my personal plans and made sacrifices to stay busy and profitable. But over time, I realized this approach led to burnout and compromised the quality of my work. Now, my photography business strategy is more selective and proactive. To engage in projects that truly inspire me, I create space in my schedule by declining opportunities that don’t align with my expertise in authentic commercial photography, brand storytelling, and visual content creation. Common Reasons a Project Isn’t a Good Fit: 📌 Budget Misalignment The project's rates and budget must reflect the scope of work and my cost of doing business. Too often, clients underestimate the resources required for high-quality branding photo libraries and visual storytelling photography. While I pride myself on being resourceful, I won’t undercut my value, my crew, or my client’s potential for success. 📌 Scheduling Conflicts With projects booked months in advance, I have limited flexibility for last-minute shoots—especially those requiring extensive production, casting, location scouting, and creative direction. Rushing a project can compromise its success, so I prefer to either plan properly or adjust the timeline. 📌 Lack of Alignment This is the most powerful (and scariest) reason to say no, but it’s a game-changer for being the best in my niche of authentic storytelling photography. Not every project aligns with my creative focus or expertise in human-centered commercial photography. If a job doesn’t fit my skills or interests, I happily refer a colleague who would be a better match. Integrity matters. The Result? Fewer, but bigger and more meaningful projects. Saying no allows me to bring fresh energy, expertise, and creativity to every shoot—benefiting my clients and ensuring that the final images are emotionally engaging, purpose-driven, and visually impactful. #commercialphotography #purposedriven #storytellingphotography What’s your approach to saying no? How has it evolved throughout your career? +++++++++++++++++++++++++++++++++++++++++++++++++++++ 📸 Hi, I’m Rebecca! 👋 I help commercial brands and purpose-driven organizations capture real moments that humanize their message, build trust, and inspire engagement. Brands that value storytelling know its power to convert. Let’s bring your story to life and uplift the power of REAL. LET'S TALK- DM me to schedule your free consultation.