There are almost always many different ways to notate the same thing. As simple a change as 4/4 vs 2/2, to more complex metric changes (3/4 in 1 vs 6/8 in 2, e.g.), enharmonic notation, even notating a rubato vs. just using fermatas.
When you have to decide how it’s going to look on the page, it comes down to: what version is the most readable and what version carries the most interpretive weight. I want the music to be as sight-readable as possible, because mistakes caused by poor notation choices can undermine the process for an ensemble. From there, I want to choose a version that makes subtle implications about the music. Feel, accent, tempo…these things can often be sensed from the way the music looks on the page. Harmonic understanding can be influenced by the enharmonic notes you choose.
The problem is, when you’re in the middle of a project, sometimes you lose the sense of what’s readable and lends interpretive weight. Because you are intimately familiar with the piece, you are no longer quite as able to assess the notation objectively.
I recommend that young composers bring scores to trusted musicians, specifically to discuss the notation. Forget composition lessons: sometimes it’s just as vital to have notation lessons!