Producing : How Do You Manage Multiple Projects at Once? by Jill Gambaro

Hey Jill Gambaro, from my own experience, I organize by priorities and create a strategy for each one of them. Sometimes, I am working in two or three at the same time, but I define timing for each one. Without a team, it will take longer to take to the next step, but I try to focus on each one at a time.

Hey Jill, great question! My approach is simple finish what's currently running first. Then move one by one. Knowing your priority is everything. If you're not sure which project deserves your full attention right now, multitasking will only create confusion. And a confused mind produces average work. So I'd rather complete one thing well than scatter energy across many. Focus is the real producer's tool.

Hi Jill,

As a financier, we typically work on multiple projects simultaneously. For example, we recently closed financing on our David Mamet-directed feature film, which is now in production, while at the same time working on a fantasy franchise with Barrie Osborne from the ground up (script, talent, budget, finance plan, etc.). These are just two examples of projects that are in very different stages, genres, and budget ranges.

This is very common for both producers and financiers. We only generate revenue when projects move forward and close, so it’s important to have a diversified slate in development. It’s actually one of the most enjoyable aspects of the business—working on multiple, very different projects at the same time.

From an investment perspective, having a slate of projects is also a significant advantage, as investors generally prefer diversified portfolios to help mitigate risk. So it’s definitely something to look forward to if you enjoy variety. It’s all good.

I agree with Jeanette's approach, having multiple projects is standard. My philosophy and work ethic is to move everything forward, methodically. I view the slate of projects as an echelon, a wall if you will, which keeps moving forward. Step by step, inch by inch, moving the entire block forward simultaneously. Of course certain ones require more immediate focus and attention than others, which is balanced out in the larger picture of moving everything forward. Consistent progress is the key for me.

Great insights here, all. I prioritize projects in this way (in order of urgency): in-production, in pre-production, in post-sale development, in pre-sale development. In order for one to run a successful business, one must ensure that those partners who are paying for one's services are first priority. Then, once all is right in those spheres, one might move on to the deeper, creative development work where the focus should be set on how to get those ideas from concept to reality.

Hello to all the producers and talented creators in this amazing community! I would love to introduce myself. My name is Erik, I’m from Slovakia, and I have an incredible true story that I lived through myself. I am currently looking for a strategic partner and financier to bring this project to life. If anyone is open to it, I would be more than happy to share my synopsis with you. Thank you all, and I wish everyone a wonderful and pleasant weekend!

Jill Gambaro Great question. Honestly, as an indie producer I find of have to have multiple projects going at once, because the reality is one of them will always hit a wall, you're waiting on investors, waiting on talent to read the script, or some piece of the puzzle falls out and you have to rethink the whole strategy. So you can't just put all your eggs in one basket.

I also just feel more creatively fulfilled having a few calls a day on different projects rather than one. It gives you that sense of building a slate, and keeping them all "watered" rather than letting one dominate.

That said, I do have to watch that I'm not taking on too much, because that's when you stop giving each project the time it actually needs. As much as I might love something, I have to be honest with myself about whether I've got the bandwidth, because piling on more isn't fair to the writer or the project itself. In my experience, when one project really goes, it'll eat all your time, so I'm always keeping an eye on all my "charges" so nothing gets neglected.

But even if I can't take something on right away, it's still worth staying connected to the creator, because when bandwidth opens up later, there's a chance to come on board down the line.

As a writer, my first feature taught me an important lesson. I developed it over time, listened to feedback, refined it through multiple drafts, and let every stage make it stronger until it became a finalist in international competitions. That process became my roadmap for every project that followed.

I don't really think in terms of "big" or "small" projects. A smaller project can ultimately have greater impact than a larger one. What matters is bringing every project to a professional, market-ready level.

The challenge is managing time. I plan my weeks so every project continues to move forward, even if only a little. No project is abandoned; every project's light stays on.

At the same time, I pay close attention to the market. When I see stronger demand for a particular concept or genre, I naturally shift more time and energy toward that project while continuing to develop the others. Each project has its own season, but all of them keep progressing.

For me, success isn't about chasing every project equally. It's about having a clear plan, staying consistent, and being ready when the right producer, studio, or opportunity arrives.

I think prioritization is key. I'd look at each project's timeline, urgency, and current stage, then decide where my attention is needed most. While it's impossible to give every project equal focus at the same time, having clear priorities and good communication with each team helps keep everything moving.

I usually keep multiple scripts at different stages, so if one suddenly takes off, I shift my focus there while keeping everyone else updated. Clear communication and realistic timelines have been the key for me. Most collaborators understand that priorities can change when a project gains momentum.

I have half a dozen scripts. Feedback for one is now: Recommended and a couple producers requested it. I have a second that was: Strongly Considered, so I’m doing a rewrite based on feedback. A couple are rated as, Consider so eventually I’ll do rewrites. I have ideas for a couple Rom Coms just in my head and starting to write down some characters and scenes. Another one is scheduled for a Table Read so I wrote a Pitch to introduce it at the next meeting. I’m sure I’ll get some feed back that will help me improve the draft.

There are times that an event or conversation will spark an idea to improve dialogue or a character and I’ll go back to that script. The best way to describe it is fluidity and willingness to accept new ideas. In the end, if a producer isn’t looking for one kind of script, I have other options I can offer.

Although I'm primarily a writer, I often find myself developing several projects at different stages.

One thing I've learned is that stories seem to have their own timing. Sometimes the project you thought would wait suddenly demands all of your attention, while another naturally slows down.

I've found it helpful to keep developing each project consistently, even if the pace changes. You never know which one will be ready when the right opportunity arrives.

I'm interested to hear how producers balance that challenge.

I don't consider myself a producer, a writer but when a new or smaller project presents itself or an idea is unmistakably exciting, I begin working on it immediately and unapologetically. I don't spend much time analyzing when I'll fit it into my schedule; I simply start. It may sound impulsive, but I believe it's important to keep that creative channel open, because the most meaningful opportunities often arrive when a load or work is already happening. I remain committed to the responsibilities already undertaken but the priority does shift.

I am a born multi-tasker. I started working at a small bank when I was sixteen, and I always finished my assignment first and went on to help staff in other departments.

I was called Girl Friday.

I was rapidly promoted and sent to work at bigger branches, and I could not break the habit of helping staff in other departments. When I was promoted to managerial status, it was a breeze for me because I knew the workings of every department. When I became Area Credit Manager, I was required to visit customers' businesses, to interview clients for business finance, and to prepare financial proposals for approval by the Bank's Head Office.

It is the same with writing. I am the Founder of three Facebook groups with thousands of members, and I handle poetry contests, my writing, and comment on many members' posts. I have a team of administrators who assist me.

I find time to write screenplays, too, and to organize my home duties.

I am dedicated and committed to whatever I undertake.

I’m learning that research is a big part of pitching. Before reaching out, you have to find out what kind of projects that person or company actually works on, because if the project does not line up with their lane, it usually goes nowhere.

Each project in a slate has its own tone, audience, budget, and strategy. So even though they are all part of the same company slate, I think each IP has to be treated like its own separate project with its own path forward.

That is what I’m trying to learn now: how to move the whole slate forward, but still give each project the right pitch, the right timing, and the right people.

I find that juggling multiple creative projects is like juggling life's challenges. There's always one to prioritize over another. And if you don't, it's not the end of the world. Life goes on.

I try to think of all of my projects as a nest full of eggs. Sometimes you just keep them warm. And then occasionally one hatches, and at that point, I laser-focus on "feeding the baby bird". When that bird is up on its feet or flying (or crashes down to earth), I nurture the next baby bird that hatches. It's not a perfect analogy, but it keeps me focused on the projects that truly need - or deserve - love and attention on any given day.

First...to be honest, as an executive producer, I make sure I have outstanding executive assistants. I can't get things done without them. Also, very careful pre-planning for each project, and staying to a schedule. I'm not needed for every phase, so I schedule according to a staged release, and organize my focus areas by priority and time commitment, in advance. As always, delegate.

ADD, ADHD, OCD are all my essential tools and assets in multitasking multiple creative undertakings.

Sam Sokolow- what a great visual for how I’m feeling with juggling all my scripts, drafts, rewrites, Table Reads, and unwritten premises I have circling in my head. It’s just a nest full of love.

Great topic, Jill Gambaro. I like to separate my schedule into creativity days and networking days, so I'm not constantly switching mindsets. Before I begin the multi-project workflow, I like to have my laptop connected to multiple screens and split those screens in half with the browsers I'll need, and with all the software I need already open and organized for the day's workflow. I also find it helps to work on projects that aren't all in the same genre; it keeps each one feeling fresh. During the visual creation phase, I'll often rotate hourly between projects, making progress on one, then catching up on the next, and rotating between projects in a cycle until they're all caught up with the first one. I typically only use this approach during the visual creation phase, as I find it keeps momentum without sacrificing the quality of stories.

I am a massive multitasker, which sounds impressive until you realize it usually means I’m juggling twelve flaming chainsaws and wondering why the room smells like panic.

But when I’m being overly ambitious, that chaos actually works for me. I write based on mood. Whatever story matches the weird little emotional weather system happening in my brain that day gets the spotlight.

Most of my work is music-inspired, so I keep every project floating around in my head when I listen to songs. One minute I’m just driving to the store, the next a song hits and suddenly I’ve got a death scene, a love scene, a monster reveal, or an entirely new screenplay kicking the door open like it pays rent.

Basically, my creative process is less “organized system” and more “haunted jukebox with Wi-Fi.”

Jill Gambaro, it's an excellent post!

Well it's good talking about "back-burner projects", which relates to cooking. If you're a good or great chef and even restaurant owner you will have a good stove with many burners or stoves. That being said when one pot/project needs to move to a front burner/more attention, you can shift around pots/projects to lest heat/attention accordingly. That being said you can of course also consider hiring extra hands or adequate qualified skills.

I like a previous AMA about the Multi-Hyphenates though! Call these type of persons a new form of evolution if you will, with capabilities to handle many of the skills part of projects. In this case of course many projects.

A Producer therefore with adequate capabilities can weigh options relevantly on the before mentioned as all part of data and options.

Anyway it's basically how I operate with my projects!

Great comments collectively!

Thank you, Eon.

I really like your analogy of the different burners on a stove. It perfectly illustrates how creative projects need different levels of attention at different stages.

As an independent creator developing my drama series Sonia, I've realized that trying to do everything at once isn't effective. Prioritizing the right task at the right time while keeping the long-term vision in mind seems to be the key.

Thank you for sharing your perspective.

Best regards,

Emil Soliman

I’ve started noticing that longer-form narrative projects rarely move in a linear way.

Sometimes a project that looks “inactive” on the surface is actually still developing underneath through worldbuilding, structural alignment, character logic, or thematic pressure. Then suddenly it becomes writable again almost all at once.

I try to avoid forcing every project into constant visible momentum now. Some phases require active writing. Others require observation, research, restructuring, or simply enough distance for the deeper patterns to become clear again.

Ironically, a lot of the real work on larger narrative systems happens during periods that externally look unproductive.

Hey Jill Gambaro, this is a really interesting topic that I've been thinking more and more lately, as my time has become spread over more than one project. Maybe I see these things a little differently because I'm a writer-director first and only a producer on a project by necessity. But still I try to keep everything organized and since I have to juggle multiple things I try to put the producing work in between the other stuff. Which is great, because if something isn't working, like I'm trying to write and can't I just go and do something else like editing or any multitude of things.

Eventually my hope is that I can focus mostly on the creative stuff and offload the organizational stuff to other people. Up until now it's worked a little, but when someone is not picking up the slack I then have to do it myself anyway.

Also I think diversifying what I do is really something that makes everything possible because it doesn't become boring. But I am a workaholic I guess because if I try to stand still for too long I feel like I'm going backwards.

Right now I'm stuck at home with a nasty cold and it's driving me crazy because I can't do much.

Hi Vital,

Thank you for sharing your experience. I really enjoyed your perspective.

You explained very well how you organize your time between multiple projects, but I'm also curious about the production side.

When you're working on two projects at the same time, how do you handle the financing and production process? Do you secure funding for each project separately, or do you have a strategy that allows you to develop multiple projects in parallel?

I'd love to hear your thoughts.

Best regards,

Emil Soliman

Emil Soliman, your compliments are welcomed!

One thing of course to add and will look forward to more emphasis in comments with some technical details is "chemistry" and pre-agreements with personals generally around you. Whether it be crew members, actors stunt performers etc. involving even the simplest or minute of productions . Agreed flexibility and understanding with all involved by, discussions and/or contractual documents before production begins is a must. That way when a project has to be back-burnered and otherwise, those relevantly attached to the various projects has already agreed, by discussion contracts etc. as production and life goes on smoothly..

Enjoying the comments everyone!

Thank you, Eon.

That's an excellent point, and I completely agree. Strong communication, clear expectations, and mutual trust before production begins are just as important as creativity itself.

I'm currently developing an AI-assisted audio drama series called Sonia, and your advice about pre-agreements and building the right team is something I'll definitely keep in mind as the project moves forward.

Thank you again for sharing your experience and practical insight.

This is definitely the reality of running a small production company. I usually have 3–4 projects overlapping at any given time, and while it's rewarding, it's also stressful and takes a lot of dedication.

One thing that works well for me is starting the day with whichever project I'm most excited about—even if it's the smallest one. Getting that early momentum gives me the energy and motivation to tackle the more complex or demanding projects afterward.

The biggest habit I've developed is tracking everything. As soon as I complete a task or milestone, I log what was done and how much time it took. It helps me stay organized, keeps projects moving, and gives me a clear picture of where everything stands.

I also lean on AI agents to help me prioritize tasks, organize information, and quickly explore different approaches. That frees up more mental space so I can focus on the creative and human side of producing while continuing to move every project forward, no matter how busy things get.

Hi Sergey Martinov,

Thank you for sharing your workflow. I really like your idea of starting the day with the project that excites you the most. I also found your use of AI agents for organization and prioritization very interesting.

I'm currently developing an AI-assisted audio drama series called Sonia, and your approach reinforces my belief that AI is becoming an invaluable creative partner, not just a productivity tool.

I appreciate your insights and wish you continued success with all your projects.

This is a constant balancing act, and I don't think there's a perfect solution.

One thing I've found really important is setting expectations from the outset. I'm honest with partners from day one about the realities of producing and let them know if I have another project that could suddenly heat up and require more of my attention for a period of time. I'd much rather be transparent upfront than overpromise and underdeliver.

I'm also a big believer in not carrying everything alone. On many projects, there's at least one other producer involved, and we can cover for each other when one of us has to dive deeply into another production. Having that redundancy makes a huge difference.

One practical thing that's helped me a lot is putting a recurring standing call on the calendar (once or twice a month, depending on the status of the project). Even if there isn't much to report, it creates accountability, keeps everyone aligned, and prevents projects from quietly drifting just because life got busy.

At the end of the day, producing is rarely a straight line. Projects ebb and flow, and most collaborators understand that—as long as the communication is honest and consistent.

Hi Katrina,

Thank you for sharing your insights. I especially liked your point about setting expectations early and maintaining consistent communication—it seems just as important as the creative work itself.

I'd love to ask from a development perspective. I'm currently developing Sonia, an international sci-fi mystery audio series. The first season is complete, with 30 episodes, each running 5–8 minutes.

When you evaluate a new project, what makes you believe it has the potential to become a larger IP rather than just a good idea? Is it the strength of the concept, the characters, the world-building, audience potential, or the creator's long-term vision?

I'd really appreciate your perspective as someone who helps shape projects from development to production.

Hi Jill! Great question and one every producer deals with eventually. I keep a similar mix on my end, a few larger, more resource-intensive projects alongside smaller, more flexible ones that can move quickly when needed. Prioritization really comes down to staying honest about what actually needs your attention that week versus what can run on its own momentum for a bit.

Thank you everyone for your impressive, funny, and commiserating responses. They've given me a lot of ideas! I appreciate it.

Out of all your projects, find the one that has the legs, the strongest, and focus on that. Finish it. Find the next one ... repeat.

Repeat indeed.

I completely agree, Jill. Managing multiple projects is about consistency rather than speed. Repeating the process every day is what eventually brings a project to life.

Hi, @Jill. I've worked on two, three, and more projects at once as a writer. I'm working on two now. I focus on my main project when I'm working on two or more. Sometimes I put my main project aside for a day(s) and work on another one. And sometimes I'll be working on one project and come up with something I can use for another project.