What actually happens when I run a batch.

Research runs around the clock, before I touch a thing

A set of research agents and loops runs in the background between projects. They are not a one-off audit at the start of an engagement. They are always on, and by the time a batch begins the market is already mapped.

What they pull, and where it comes from:

• Competitor ads from live ad libraries, grouped by the funnel door they feed.
• Buyer language from Amazon reviews, Reddit, niche forums and the comments under competitor ads, the exact words customers use for their pains, desires and objections.
• Funnel teardowns of the brands winning in the category, ad to landing page to offer.
• A swipe bank that keeps growing, so the next batch draws on a deeper library than the last.

The rule that governs all of it: every finding carries a live source link. Nothing enters the pipeline as an opinion. If I can't point to where it came from, it doesn't get used.

Ideation from live sources, not a blank page

Concepts are never invented in a vacuum. I run STORMING, a framework from Genesis (the creative-strategy course by Luke Iha and Mario Castelli). It pulls from eight live sources at once, so range comes built in rather than forced:

• Swipes: winning competitor ads.
• Templates: proven ad structures worth reusing.
• Organic: reels and posts, saved word for word.
• Research: reviews, forums and comments.
• Matrix: the gap map of segments no one is serving.
• Internal: patterns pulled across the whole ad corpus.
• New styles: fresh visual formats to test.
• Gambits: wildcard bets worth a shot.

Each source drops a seed: the verbatim hook or angle plus one line on why it works. The seeds become concepts, and every concept is a deliberately different bet, a different segment, awareness level, format and angle, so they don't compete with each other in testing and the account covers ground it wasn't covering before.

Copy that reads human, built on real DR fundamentals

Hook first, always. A hook is written, stress-tested and picked before a single line of body exists. Then the body is written from the patterns of proven winners, the brand's own or a swipe from the category, so the structure is already validated before I start.

The fundamentals underneath it are Stefan Georgi's RMBC, run in order:

• Research: the market, the product, the real buyer language.
• Mechanism: the unique reason this product works.
• Brief: lock the angle before a word gets written.
• Copy: write to that brief: call out the pain, promise the solution, and prove it's different from anything they've tried.

The finished copy carries the pain, the promise, the proof, the constraints and the mechanism, and it's edited by ear, read aloud and cut at the beat until it sounds like a person, because a person wrote and chiefed it.

I direct the creative, and I build most of it myself

Copy is signed off before anything gets designed. Then the format decides the path:

• Statics. I concept and build them on my own static workflows, learned from EVOLVE's winning-ads breakdowns and others: a hook-front headline in six to eight words, one bold committed colour, radical simplicity, and native camouflage so the ad doesn't look like an ad.
• Animation. I do it myself, in whatever style the concept needs: Pixar, Vox-style explainer, claymation and more.
• Video. It goes to an editor with an explicit editor package: shot-by-shot direction, the conceit, the actor and style, references and the locked script. Nothing is left to guesswork, so what comes back matches what I designed.