As there are an infinite number of route types, styles, crux locations, etc., it would be impossible for me to tell you with any accuracy the best way to work your project. I can, however, detail a few ways to efficiently work a route in general, all of which can be tailored to suit your needs.

But first, a quick note on one thing you should always remember when projecting: this may seem obvious to many of you, but I've seen many people hanging on a project with neither of these necessities. While working on a project, ALWAYS carry a draw that you can use to clip in direct to a bolt, and while you're hanging, ALWAYS be brushing. Yes, that means the jug rests, too. They get ridiculously caked with chalk, so it's up to you to keep them clean. Your belayer will be far more likely to catch you again on another hour long burn if you give them less work to do, so don't forget that extra draw.

Now, to help you break this thing down to an inevitable send.

Remix.

This thing, this project - it's not just a route. It's a set of boulder problems and/or smaller routes that when connected together create this monster you've set your sights on. I know all too well that a major project can be overwhelming. We've already talked about deciding on the obvious checkpoints. Now really break those sections down further, and give them grades of their own. Hell, give them names if that helps you. Let's say your project is a 13b called "To Kill A Mockingbird". It breaks down nicely into an low percentage opening V5 boulder problem to a good rest at the 2nd bolt, (let's call this section "Boo Radley"), followed by a three bolt pumpy 12c crimpfest up a black streak to a good shake for the right hand, and a crappy one for the left, (this section, "Tom Robinson"). After the quick shake you head directly into the crux: a nasty, thuggy, off balance V6, ("Bob Ewell"). With no rest, you immediately launch into the steep 11+ hero jug hauling to the chains (hmmm, how about "Atticus Finch"?).

Now you can focus on sending and dialing in "Tom Robinson" rather than linking "the middle three bolts before the crux".

Overlaps.

You've established the individual sections, and they make up nice, neat little routes of their own. It's going to be very easy to fall into the trap of making only the obvious links, between rests or checkpoints, and then moving straight to redpoint attempts. This isn't always the best approach. Oftentimes, particularly if the route is extremely sustained or a real giant, you'll want to overlap your links. Now you can start linking "Tom Robinson" to "Bob Ewell", as well as "Bob Ewell" to "Atticus Finch". You are likely to find during these big links that you'll want to change beta on the fly so you can cop a shake, or make a move more high percentage. Keep an eye out for these and don't be afraid to alter your beta if it makes sense to do so. Make several big overlaps before you move on.

Ground Up, Top Down, or Both?

Different routes will dictate different ways to begin the final working push. This is where the infamous "one hang" will likely happen. The traditional, maybe naive way to try a route is to start from the bottom and try to get to the top. If the route in question has a tough boulder problem guarding the chains (or in our case, guarding the hero jugs,) then your best bet is to start out by working top down. I'm going to assume that if you're new to projecting, then this method may seem foreign and counterintuitive. Let's say you've done the "Bob Ewell" to "Atticus Finch" linkup. Now move it down a bolt into "Tom Robinson". Take it easy getting to that starting point... go bolt-to-bolt or even stickclip through. Once you've sent that, move it down another bolt. Before long, you're sending from the jug that ends the "Boo Radley" boulder problem, and if you can get it all back there, then you're money.