Create Your Own ‘Door-Stopper’ Opportunities, Capture People’s Attention Through Storytelling, and Use Your Voice to Affect Change with Nickie Shobeiry.
Listen to the episode on Spotify and Apple Podcasts | Watch on YouTube
Listen to the episode on Spotify and Apple Podcasts | Watch on YouTube
“A door stopper is like shoving your leg in the door before it can close on you. It's creating an asset and opportunity to capture people's attention and open a door or two.”
In this episode, Nickie Shobeiry and I dive into the art of creating opportunities by boldly putting yourself out there. Imagine using a short film not just as a creative piece but as a powerful door stopper—a way to crack open opportunities before they slip away. Nickie shares how these projects have become calling cards that capture attention and forge connections with industry insiders and media moguls. It’s an unapologetic approach to saying, “This is me. This is my message. Let’s make something great together.”
Nickie Shobeiry uses storytelling excellence for good. A second-generation Iranian raised in the United Kingdom and now living in Canada, she shares stories of the joy and resilience of her culture through film, audio, and journalism. This year, Nickie produced Good Nose, her first short film about cosmetic surgery trends in Iran, with the Canadian broadcaster CBC.
This episode also explores her story as a quiet, artsy child in a rural town turned successful creative entrepreneur. We discuss the importance of storytelling, the evolution of Nickie's career in journalism, and the challenges and triumphs of building a communications business. Nickie shares insights and the detailed process behind bringing her documentary 'Good Nose' to life with a team. Nickie also shares how she leverages projects as opportunities for growth.
This episode is for you if:
You want to learn how to leverage storytelling to build a meaningful career in filmmaking, journalism, or communications.
You’re interested in strategies for building a strong personal and professional network, especially as a newcomer to a country.
You’re exploring how to transition from freelancing to running a successful business.
You want insights on using creative projects, like short films, to open doors and build lasting connections in the industry.
Looking for a specific gem?
[04:22] Nickie’s origin story and early influences
[10:24] The evolution of Nickie’s career in journalism
[13:16] Building a communications and copywriting business
[16:40] The power of networking and building a reputation
[18:02] Cultivating your curiosity and creative energy
[22:51] The process of creating and producing Good Nose
[30:30] How to pitch and produce a short film
[34:10] How to build relationships in creative industries
[36:14] Leveraging your own projects as ‘door stoppers’ to elevate your career
[39:31] Investments in creative growth
People and Resources Mentioned
Watch Good Nose: What's behind Iran's love affair with nose jobs? | Creator Network
🎬 This interview was edited by Chara Ho, Co-Founder of Zesty Nobody
Conversation Transcript
Naomi Haile: Hi everyone, and welcome to another episode of the Power of Why podcast. My name is Naomi Haile, and today I am here with the incredible Nickie Shobeiry. Nickie, how are you doing today?
Nickie Shobeiry: Naomi, I’m doing so well, my friend. Thank you so much for having me.
Naomi Haile: I am just so grateful that we can record this episode today. I've known you for years, and I’m so proud of the work that you're doing and how intentional you are. Today, I'm really excited to introduce you to my audience and the *Power of Why* community.
So, let me give you a little bit of context about Nickie and her path. Nickie uses storytelling excellence for good— I love that tagline, by the way. She is a second-generation Iranian, raised in the UK, and is now making waves in Canada. She's an accomplished filmmaker, producer, and journalist. Whether producing documentaries for CBC or creating in-depth journalism for *The Globe and Mail*, Nickie is passionate about sharing stories that have a lasting positive impact on society.
This year, she produced Good Nose, her first short film about cosmetic surgery trends in Iran, in collaboration with Canadian broadcaster CBC. For those who have seen it, I’m sure you enjoyed it! Today, we’ll explore her journey— from growing up in Denmark and rural England to navigating her creative career and building a communications agency. One of the things you’ll notice throughout Nickie’s story is the theme of relationship-building and collaboration. People are such a central part of how you work and do business.
I’m really excited to hear about the gems and insights you've gathered along your path about building intentionally with people. Nickie, I’m honored to have you on *The Power of Why*. I’d love for you to start by sharing a bit about your origin story. You are such a blessing to all of us here in Ottawa, and although it feels like I’ve known you for a long time, you only arrived in Canada in 2017. So, tell us about your origin story growing up in a small rural town. What did you enjoy doing as a child? Let’s start from there. Amazing.
Nickie Shobeiry: Amazing, Naomi. I’ve always admired this podcast, and you as well. My heart feels so warm, my friend. I’m so, so pleased to be doing this with you.
So, to start, my family is from Iran, and I grew up in an immigrant household. I was always a quiet, artsy kid—pretty shy, introverted even. I really enjoyed animals, and I loved art. By the time I could read and write, that became something I really loved doing, too. Storytelling has always been very close to my heart.
Naomi Haile: You so you chose Ottawa, and even just hearing about your early experiences in Devon, which is a rural town, I'm sure you didn't have access to a lot of diversity, and I'm sure community building looked a little bit different than it does in your life today. But as a child and growing up as like an adolescent, were you encouraged to color outside of the lines? Were you encouraged to kind of stay within them? What were the conversations that you had in your household growing up about who you are, your identity and like, what you felt comfortable doing?
Nickie Shobeiry: Such an amazing question. I love that so much. You’re bringing me right back. I mentioned loving art and literally coloring inside the lines there. I think it was a bit of both. On one hand, my family fled Iran during the revolution, so like many immigrant households, there was a sense of protectiveness. Being in a different country without the same network around you creates that.
At the same time, my parents did give me a lot of freedom. They encouraged me to color outside the lines, even if they didn’t always fully understand my career path. Creativity was important in our household—my dad would paint as a hobby, and my mum was into crafts. My grandpa was a poet. So, there was always a healthy respect for creative outlets, and they let me explore what I wanted to do.
Naomi Haile: What was it about stories for you? Because filmmaking, and the work you're doing in your copywriting and communications business—it’s all about storytelling. You’re also a journalist. So, growing up, did you have a fascination with film, reading, and writing stories? What did that look like for you?
Nickie Shobeiry: I think, if I remember correctly, I always wanted to be a visual artist as a kid—taking it way back here. But when I learned how to read and write, that’s when things shifted. I thought, "Oh, I want to be an author," and believed that would be a stable career path. Then, as I grew older, I realized, "Nah, journalism, that’s the one." Of course, we know what the state of journalism is like now, but the love of stories stayed with me.
In many immigrant households, including mine, there would be gatherings where the adults shared stories from Iran—many about the crazy ways they escaped the country. Some of the stories probably weren’t very PG for the kids in the room, but they really captivated me. These stories were shared through a kind of kaleidoscope of memories from a homeland I had never seen, and they were often really funny, too. That stuck with me. It was a way of keeping memories alive from people I didn’t get to meet, and it was clear how important those stories were to my family.
Naomi Haile: I have those same memories. Growing up, our parents definitely filter what they’re willing to share, depending on how old we are. Then, later in life—like in your late 20s—you start hearing stories you’ve never heard before, and you’re like, “Wait, what? This happened?” So, I can totally relate to that.
When you turned 18, I read that you wrote for the local newspaper in your small town. How did you get that job? I’m so curious about your childhood, because I know the woman you are now, and I’m wondering what it took to become the Nickie we see today. Writing for your local newspaper—how, where, who? Tell me!
Nickie Shobeiry: Okay, that is such a great question, Naomi. When I think back to being a teenager writing for that local paper, I had my own column— a TV column where I reviewed *The Great British Bake Off*. I also got to attend small gigs around town and cover them, which meant seeing my work in both print and digital formats. It was a friend’s mom who worked at the paper and got me in, and I’m very grateful for that opportunity.
At a very young age, I got to experience what it was like to be in a busy—well, as busy as a rural paper could be—newsroom. Even though I wasn’t part of the news team, as that’s never been the kind of coverage I do, it taught me so much. I learned how to write under pressure, meet deadlines, and not be too precious about my work. It was all about getting the job done and understanding how the industry worked.
It was a safe space, and everyone was lovely. Unfortunately, that paper has since shut down, as has happened with so many community papers. But it was an amazing first experience, seeing my face plastered across town for a couple of years.
Naomi Haile: I actually didn’t know that! You’ve never mentioned it, but I came across it when I was researching for this episode, and I thought, "What a cool story." Also, when you look back on your career, there are so many breadcrumbs that signal or relate to what you’re doing today. I saw that and thought, "Oh, that’s really interesting!"
You’ve always kept your foot in the journalism space. Right now, you write for a few publications like The Globe and Mail, and you’ve also had your own communications and copywriting business for over a decade. I want to talk more about your journalism later, but for now, what were the early days like for attracting clients for your comms business? Where did you start, and how has your business evolved over time?
Nickie Shobeiry: Yeah, damn, that’s a great question. I think, in the beginning, it was a ridiculous amount of hustling. I did a lot of free work, which I wouldn’t recommend to anyone, but at the time, I was in university and not the most academic. I spent a lot of time in town, and there was a local café that hosted art exhibits. I’d approach them and say, “Hey, I’ll make you guys a website for your gallery, and every week, I’ll interview your artists.” If they gave me a piece of cake, great—if not, no worries. It was all about getting in front of people and showing them that I could write.
Of course, not everything went smoothly. After university, I moved to London with big dreams, like many others at the time. It didn’t work out. I hacked away at it for five months before realizing it wasn’t the right place for me at that point in my career. So, I came back to Devon with my tail between my legs.
It was around that time I found myself in Canada and decided to stay.
In Ottawa, I was back in full networking mode, consistently meeting new people and showing up at events. I kept writing for Apartment 613, growing my reputation wherever I could. Eventually, clients started trickling in through word of mouth. I’ve been lucky that so far, that’s how things have continued to grow.
Naomi Haile: And was that your plan from the beginning? As you were building your network and going to these events, were you actively trying to match your skill set with the needs of organizations or individuals? I love that you approached it by saying, "Hey, I’m going to do this because I know you need support in this area, and this is how it’s going to help you." I think that’s brilliant. Did you always think you’d start your own business, or did that idea evolve as journalism changed and you realized, "Okay, this is how I need to position myself to keep working on my dreams, like my filmmaking dreams"?
Nickie Shobeiry: That’s a very good question. And what’s crazy is that I’m realizing I don’t fully remember! I think I always had a foot in both worlds, being willing to work inside organizations—I’ve done that too—but in the back of my head, I always had this thought. My dad was a dentist, and he ran his own clinic. I remember him telling me, “If you can, be your own boss.” Growing up, I saw the huge amount of work that goes into running a business, but I also saw the perks and the freedom that come with being your own boss.
So, I think that idea was always in the back of my mind. And journalism, by its nature, often involves freelancing if you’re not working inside a magazine or newspaper. Freelancing teaches you business skills naturally. It was very easy for me to transition from journalism to taking on copywriting clients.
Like you said, Naomi, I saw that I could do a bit of work, earn some extra cash, and still have the freedom to pursue the creative things I love—like filmmaking, which takes up a lot of time. Being able to control my schedule has been really helpful.
Naomi Haile: You are a creative entrepreneur, in my mind, and I say that because so much of the work you do is driven by curiosity, right? Whether it’s filmmaking or the work you’re doing in your comms business, it’s all fueled by that. So, I’m wondering, with the amount of creativity you're constantly tapping into, how do you cultivate your curious mind and creative energy to develop original ideas or see things from a different lens?
Nickie Shobeiry: Naomi, I love this question, and it feels like such a "Naomi" question! This is what I adore about you—you’re involved in so many fascinating spaces. I open up your Instagram or your newsletter, and you’re always doing something new—whether it’s acting, fashion, or the incredible work you do in management, ghostwriting, and more. You’re always hungry to learn, and it inspires me. When we chat, we ask each other a million questions because we’re both so curious about what the other is up to!
For me, the nature of my job constantly pushes me to be creative and curious. Whether I’m running my comms business, where my clients come from all kinds of industries—one day it’s social impact for seniors, the next it’s an auto financing firm or a legal company working on IP protection—there’s always something new to find interesting. Journalism, 100%, is what I love the most. Every day, I get assignments that are completely outside my usual wheelhouse. Recently, I’ve been learning about sports—soccer and baseball—for a series with *The Globe and Mail*, and it keeps me in this constant practice of learning and staying open-minded.
In terms of creative energy and developing original ideas, I’ve gotten better at allowing myself to rest. I think rest is so vital for my brain—it gives me the space to process all the information I’ve taken in during the week and turn it into a creative idea that I can execute. I’ve learned not to push myself too hard or get scared when the ideas don’t come right away. I trust they will come, especially when I give myself that time to rest.
Naomi Haile: This is something we’ve been talking a lot about. And I think, even with the podcast, a lot of people ask how I’ve managed to stay "consistent" over six years. I believe it’s because I’ve given myself the space to take breaks between seasons. During those breaks, I can go out and do the things I really enjoy, like traveling or attending events. It’s not that I don’t do those things during podcast recording season, but having time away from what you're doing—whether it’s for a couple of weeks, a month, or even just a few days—allows you to come back with a renewed level of energy or a different perspective. Sometimes, you have a conversation with someone outside of your field, and it helps you see things differently. So, I really appreciate the importance of rest and taking time away.
I’m so curious to know more about your experience creating and producing Good Nose. It’s such a fantastic short documentary—unexpectedly funny—and I definitely want to link to it in the show notes. Can you tell us, from your experience with this project, what made for good storytelling? It was only six minutes, right? At the viewing party, I noticed everyone was glued to the screen, even though I had already watched it a couple of times. What, in your opinion, makes for really good storytelling, and what did you do with this documentary specifically to achieve that level of engagement and interest?
Nickie Shobeiry: I appreciate you, my friend. It means the world to me. You’re such an incredible storyteller yourself, and all of your support—seeing you there in the crowd, right in the front row—fills my heart.
Naomi, I think two main thoughts come to mind. First, a good story is one that comes from you. It’s something authentic, something that moves you, and by extension, it’s likely to move others as well. They always say, "Write what you know." When you tap into personal experience and are vulnerable in a way that feels safe, I believe there’s always an audience for that.
The second thought is more technical. It’s important to be deeply aware of attention spans, which are very short nowadays. I love a good reel or meme session as much as anyone, so ensuring that what you create moves at the right pace is key. In my case, I aim for humor and try to make it funny.
For people telling a story around a specific cause, like I did with Good Nose—which dealt with cosmetic surgery and women’s fights for freedom in Iran—it’s a heavy topic. It can be difficult to decide to invest time in such a project. For the people attending the screening, they knew what they were there for. But for others who come across it online, I had to think, "How can I add humor or relatable elements for people who aren’t Iranian or familiar with this space, but who would still find it engaging and want to keep watching?"
I actually began the documentary with a story about a horrific date I went on in my early 20s and bookended it with that. It was a vulnerable moment for me, as I hadn’t shared those kinds of personal stories before, but I immediately saw the power in it because, let’s face it, a lot of us have been through some pretty bad dates!
Naomi Haile: Yeah, before everything around that screening—like your promotion leading up to it and all the content you shared afterward—you didn’t really share much of your personal life online. So this felt like a reintroduction to Nickie in a new light, which I really loved.
If we’re going to double tap on that, what was the process of making *Good Nose*? I know you had a phenomenal team and a super talented editor, Dina. Can you take us back to pre-production? How did you land on the idea that this was something you wanted to create? Did you go back and forth between a few ideas before settling on this one? And what was your game plan like?
Nickie Shobeiry: Yeah, such a good question. So, the idea of exploring cosmetic surgery—specifically nose surgery rates in Iran—came from a family holiday to Turkey, which was beautiful. My family from Iran met us there, and I saw my mom reconnect with cousins she hadn’t seen in almost 40 years, which was incredibly moving. My cousin, Mariam Zahori, who lives in Ottawa (and of course you know her—we love Mariam!) was there too, and that made the experience even more special.
During the trip, we started talking about noses—who had surgery and who hadn’t—and it brought back memories of being 13. I’ve got a bit of a bump on my nose, which is typical for folks in the Middle Eastern region. Growing up, I was very aware that many people chose to get surgery for that, and those memories resurfaced.
When I got back to Ottawa, around the same time, my partner Alex was working with AI image generation and trying to create an image of an Iranian woman. We spent so much time inputting prompts to try and get the nose in the AI-generated image to look like mine, and we just couldn’t do it, no matter what. It was a funny moment—we were like, "Even the noses are straight in AI!" That got me thinking, maybe there’s a story here to be told.
At the same time, I knew about the CBC Creator Network program, which looks for diverse, younger voices to tell their stories. It’s typically a five-minute short—lighter in terms of time, but still a lot of work. There was a point where Dina (the editor) and I were messaging at 1 a.m., trying to meet a deadline! But it felt like a fun topic that could also make an impact, addressing what’s happening with women in Iran while being something I directed and could fully put my voice into.
I’ve worked on documentaries before—amazing ones with Bell, for example—where I wrote, produced, and hosted, but I had never directed something that was purely my voice and my own story. That’s how the idea came about: creating something that explores a topic that has been with me for many years and using it as a door stopper to open up new opportunities.
Naomi Haile: Yeah, I’ll put a pin in the idea of door stoppers and creating opportunities, because that’s so good. So, you come back from Turkey with this idea after those conversations with Mariam. What did it look like to pitch it? You also wrote it, so what was the process for putting the script together? For those interested in developing a project like this, how long does it take? What are the essential pieces you need in place to bring a project like this to life? How do you find the right crew? Walk me through all of it.
Nickie Shobeiry: Amazing question. The entire process, from pitching to release, took about six months, which was a pretty tight timeline, but it’s definitely doable. On my end, I already had a relationship with CBC, so that helped. Christine Mackey—shout out to her—is an amazing producer at CBC and one of the people leading the Creator Network.
What I always recommend to people is, before you pitch, try to get on a call with a producer. Understand what they or the company (in this case, CBC) are looking for. Ask questions like, "What’s on your slate for next year?" or "What kind of content do you wish you had?" That way, you can take your ideas and curate them to fit what they need, which also shows them that you’ve done your research.
From there, you come back with a pitch deck. For the Creator Network, they have a form you can fill out, which is super easy. But typically, you’ll need things like your logline—a short sentence that sells your idea—a synopsis, and the visual style you’re going for. You’ll also need a director’s statement: why this project is important to you and why you’re the person to tell the story.
You’ll also want to outline your marketing plan and your core audience. Additionally, if your content requires research, like mine, you’ll include details like the academics and subjects you’re reaching out to. Once I had all that, I submitted it to CBC, they greenlit the project, and that’s when the real work began—storyboarding and writing the script.
Given that it was a smaller budget, I wanted to keep things simple. I did most of the filming with Deena Alsaweer (the amazing videographer and editor) and Mariam, my cousin, who was the fantastic producer. As for the script, which is my favorite part of the process, it was only about two pages long. I kept it simple, almost like a monologue from me, interspersed with interviews from Iranian public figures. This approach kept it short and punchy, covering the key facts I wanted. Storyboarding from there became easier because we could map out the visuals based on what I was saying. And so it was a mix.
After that, we focused a lot on B-roll. Deena and I spent countless hours digging through websites and stock footage, as well as archives from my own family—my dear mum, who’s the family historian, was so helpful with that.
We also had the actual shooting days, where Mariam, Deena, and I went to the Digital Arts Resource Center. I sat in front of the camera, reacting to my own voiceover, so we could include a bit of myself on screen as an anchor for the audience.
It was honestly so much fun. If you can work with your friends and family, I highly recommend it!
Naomi Haile: Yeah, you really do have an amazing community around you. Truly. Thank you for that breakdown—it was super helpful, especially for folks in Ottawa. You touched on so many important points, not just about the logistical elements of bringing an idea from conception to launch, but also about leveraging the short as a door stopper.
You mentioned the relationships you already had at CBC, so it wasn’t just a random cold email or cold call (which is totally fine, too). But it seems like so much of the work we do is based on the relationships we build, right? It’s about the insider information we gain access to by being part of our community, providing value, and showing up at other people’s events.
So, tell me, what exactly is a door stopper, and how are you leveraging your short film as one for your career?
Nickie Shobeiry: Love it! Naomi, it’s so true, and it’s one of the things I love about your podcast—it’s all about relationship building. You’re sharing incredible information with the world and creating this beautiful product, while also having fascinating conversations with so many people. That’s what journalism often feels like to me—creating networks and connections.
For me, a door stopper is like shoving your leg in the door before it can close on you. It’s using the short film to really capture people’s attention and open a door or two. For example, I’ve been able to share the video with agents of actors or public figures I want to connect with for future projects. I’ve shared it with my media contacts to land interviews and coverage I’ve been seeking.
Specifically, within the Iranian community, this documentary was the first time I’d fully engaged with the community in this way. Sharing it around has led to new opportunities—like going on Farsi-language radio shows, emceeing a large Iranian music festival, moderating a panel at an Iranian film festival, and even more music-related events coming up.
It’s really just a way to tell people, “I’m here, this is my voice, and this is my tone. Let’s work together.”
Naomi Haile: So good, Nickie! I think when we talk about leverage and building assets, like this short film that can appreciate and increase in value over time, you really hit the nail on the head. It’s so good. For those listening, I hope you’re thinking about how you can create door stopper moments in your own life and career, just like Nickie has. If you don’t see opportunities right now, you can create them, as Nickie did. She rallied her community around her and created an opportunity around a great story.
That’s beautiful. Thank you for sharing that.
As we wrap up the episode, I’d love to hear: What is the best investment you’ve made in your creative life or your work that has really helped you expand your writing skills?
Nickie Shobeiry: That's a great question. Can I give you two answers? Am I allowed to color outside the lines?
The first one is for my comms business—when your business is at the point where you can hire someone, just do it. Bring someone on so you can get your head out of the day-to-day chaos and give yourself the space to write. I often fall into the TRAP of finding excuses for why I haven’t written, especially when it comes to creative work. Hiring people I admire has been one of the best investments for me this year, allowing me to prioritize the reason I started the business in the first place: to have space to tell stories.
The second thing, and I credit journalism for this, is giving yourself a tight timeline and just sitting down to create a piece of content—any content. In fact, the more boring the topic, the better, because it challenges you to make it interesting. It also forces you to avoid "white page syndrome," where you’re afraid of the blank page. Once you’re churning out content back-to-back, that blank page will mean nothing.
Naomi Haile: What is the best place for people to connect with you online and support your work?
Nickie Shobeiry: Yeah, thank you, my friend. You can find me at www.nickieshobeiry.com, and I’m also on LinkedIn and Instagram as Nickie Shobeiry. I’m always looking forward to connecting and always down for a chat!
Naomi Haile: This was incredible. Thank you so much for making the time to chat with me on *The Power of Why* podcast. I really appreciate it! You’ll find all the links to connect with Nickie online in the show notes. And with that, we’ll catch you in the next episode of *The Power of Why* podcast. Bye for now!
Listen to the episode on Spotify and Apple Podcasts | Watch on YouTube
Connect with Nickie
LinkedIn: Nickie Shobeiry
Website: Nickie Shobeiry
Instagram: Nickie Shobeiry
Substack: Nickie Shobeiry
Connect with Naomi
Website: naomihaile.com
LinkedIn: Naomi Haile
Instagram: @naomiahaile
Twitter: @naomiathaile