How Creators Can Turn Vision Into Reality – An Interview with Media Consultant Rachel Lashea
- Apr 16
- 5 min read
Updated: Apr 19
Rachel "Rae" Lashea is an American author, filmmaker, producer, and creative entrepreneur known for her diverse body of work in literature and film. Born in Brooklyn, New York, Rae grew up with a rich cultural heritage; her mother is a Trinidadian immigrant, and her father is Native American, which cultivated in her a deep appreciation for culture, community, and global perspectives. Her upbringing and multicultural roots have significantly influenced her creative voice and storytelling, shaping her into a lifelong learner and storyteller passionate about elevating perspectives that are often overlooked. Her production portfolio includes titles like We’re Not Married?, Hot Tea and Mercy, and Fifty-Two Weeks of MIRACLES, reflecting a commitment to diverse storytelling and artistic collaboration.
Rachel "Rae" Lashea, Media Consultant
Who is Rachel "Rae" Lashea?
I am an American author, filmmaker, producer, and creative entrepreneur known for my diverse body of work in literature and film. Born in Brooklyn, New York, as the daughter of an East Indian Trinidadian mother and a Native American African American Irish father, I grew up with a rich cultural heritage that cultivated a deep appreciation for culture, community, and global perspectives in me. Although I have always been a writer and editor, prior to my creative career, I worked as a special education teacher and administrator, and I have an academic grounding in social anthropology, which reinforces my belief in the importance of continuous learning and research. My production portfolio includes titles like We’re Not Married?, Filly, Hot Tea and Mercy, and Fifty-Two Weeks of MIRACLES.
What inspired you to start Rae Lashea Productions and focus on writing, editing, and film production?
My upbringing, multicultural roots, extensive travel, love for learning, love of reading, and skill in writing have significantly influenced my creative voice. Being one of ten children, I learned to express my thoughts and voice my opinions, as well as to listen to others and truly understand and appreciate their views, which helped shape me into a passionate storyteller who cares about elevating perspectives that are often overlooked. I am committed to reflecting diverse storytelling and artistic collaboration.
What’s the biggest challenge your clients face when writing or producing content, and how do you solve it?
One of the biggest challenges my clients face when writing or producing content is bridging the gap between a strong idea and effective execution. People come in with powerful stories or clear messages, but translating that into something structured, engaging, and production-ready is where things tend to break down.
Another major hurdle is clarity of voice. Often, creators rush through the writing in order to finish the manuscript, which can dilute the impact of the story. They also sometimes want to reach every audience instead of authentically connecting with their tribe. We spend a lot of time refining their perspective so the content is intentional, authentic, and focused. We then dive deeper into the story, fleshing it out and leaving no holes in the storyline.
There’s also the challenge of understanding the production process. Writing something that sounds good on paper is one thing, but writing something that can realistically be produced within budget, time, and resources is another. That alignment between creative vision and practical execution is critical.
Finally, consistency is a big one. It’s easy to start strong, but staying disciplined through revisions, feedback, and the long timeline of production is often where people struggle. The clients who succeed are the ones who embrace the process, remain flexible, and commit to seeing the project through from concept to completion.
What advice do you give to writers who feel stuck or overwhelmed with their work?
Refer to your outline. When a writer works with me, they must create an outline or storyboard. This takes the thoughts out of one’s head and puts them on paper in a way that can flesh out the idea and guide the writing. If the writer is stuck and hasn’t written an outline, they must complete one. It forces them to think about the end before they start.
If they have completed an outline but are stuck in making those ideas flow, they must take a break. These breaks outside of writing will help clear the mind, reduce stress, and allow creativity to flow. For breaks, I suggest long showers or baths, exercise, walking on the beach, a long plane ride, watching a movie, playing with children or pets, or attending a seminar of any type with an open mind and flexibility to let one’s own creativity flow.
What are some common misconceptions about writing and producing films that you help clients overcome?
One of the biggest misconceptions about writing and producing films is that a good idea is enough. In reality, ideas are the easy part. What really matters is execution, which takes time, effort, and the willingness to refine and rewrite.
Another common myth is about dialogue. With books, people need to write extensively, describing the scenery and setting so that it paints a picture in the minds of readers. For screenplays, less is more. While the dialogue is important, the description is not as necessary since movies are visual and the audience will see it with their own eyes. While books rely on lots of words to show the reader what’s happening, strong scripts rely more on what’s seen and felt, even more so than what is said.
Then there’s the money. For films, many assume producers just finance projects, but their role is far more hands-on. Producers are involved in assembling the team, managing logistics, and problem-solving at every stage of the process. They are necessary to ensure that the project gets made.
There’s also this belief that you need to be in Los Angeles or have strong connections to break in. While proximity and networking are helpful, the industry has become much more accessible. With digital platforms, film festivals, and independent production, there are more entry points than ever before, but even successful projects can take years to come to life. It’s really a long game built on persistence and relationships.
What’s one piece of advice you would give readers who want to start their own creative journey today?
As simple and cliché as it may sound, just start. The interesting thing is, most people don’t start. They think, they talk, they write, they plan, they analyse, they doubt, they rethink, they talk themselves out and back in, they seek opinions, approval, disapproval, worry, overthink, lose their notes, write new notes, find their notes, compare their old notes to their new notes, and a number of years later say, “I should have started years ago” and then start that whole process all over again.
Start. Then do a little bit each day until you finish. The next piece of advice I would give is to then finish what you start.
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