The ad account eats creative faster than I can make it.
Come and take that off me.

I sell high ticket coaching to agency owners in India. That is the whole business. Someone running a small social media agency, stuck at the same place for months, buys a programme from us that fixes how they get clients and how they close them.

The machine that sells it is simple and it is public. A Meta ad stops someone in the feed. The ad sends them to a video at smmaonsteroids.com. If the video lands, they opt in and fill a qualification form. If they qualify, they book a call. A setter confirms the call. A closer takes it. Two closers on the team right now, and I am hiring a third.

Every step after the ad already belongs to a person. The ad itself still belongs to me. That is the problem I am hiring you to solve.

We have run paid ads in India every single day for more than a year. Not campaigns around a launch. Not bursts when I feel like it. Daily, continuously, without a gap. That means two things for you. First, there is a real account with real history for you to work against from day one, not a plan to start advertising soon. Second, creative is the constraint. Media buying on an account this old is mostly maintenance. What actually moves the number is whether the first three seconds of a new video make an agency owner stop scrolling.

You do not have to take my word that any of this exists. Open the Meta Ad Library and search AgencyGod with the country set to India. Open Instagram and look at @theagencygod. Open smmaonsteroids.com and watch what our ads click through to. Two other hiring pages sit on this same domain for the closer and setter seats. Go check all of it before you fill anything in. I would rather you arrive suspicious and leave convinced.

You own two things.

Short form. Reels and shorts for @theagencygod. That means the idea, the hook, the script, the shot list, the edit, the subtitles, the cover frame, the caption, and the calendar that decides what goes out and in what order. Not one of those steps handed to you finished. All of them.

Paid creative. The videos and statics that run as ads. The same account you can go and look at right now. New angles, new hooks, new formats, cut into the ratios the placements need, versioned so we can tell what changed between one and the next. This starts in your first week, against live spend. Nothing about this job is a sandbox.

Now the part I have to be blunt about, because if I am not, I will get a pile of applications from the wrong people.

This is not a media buyer seat. I run the ad account. Budgets, audiences, campaign structure, what gets scaled, what gets switched off, the pixel, the reporting. Mine. You will have eyes on the account, because you cannot make good creative blind, and I will walk you through what the numbers mean. But you will not be adjusting spend and you will not be building campaigns. If your real ambition is to be a performance marketer and this looks like a route in, say so on the call and I will tell you honestly that it is the wrong door.

It is also not a graphic design seat. It is not a social media manager seat where the work is replying to comments and posting quotes on gradients. And it is not an assistant seat where you wait for a brief. If a week goes by and I never told you what to make, things should still have gone out.

I am not going to print a shift timing on a public page and then renegotiate it with you later. It is a full time remote seat, we agree the working block on the call, and it goes in writing before you accept anything. What I can tell you is the shape of the day, which barely changes.

You start in the numbers. Before you cut anything, you look at what the creative did yesterday. Which video is spending. Which one has stopped working. Which hook is holding attention and which one loses people in the first two seconds. This takes a few minutes and it decides what you make that day.

Then the ship block. This is the longest part of your day and it is protected. Cutting, subtitling, versioning, exporting. Whatever was due today gets finished today. If something is going to slip, I hear about it before it slips, not after.

Then the make block. Writing hooks for the next batch. Scripting. Telling me what you need me to film, in enough detail that I can shoot it in one sitting instead of five. Pulling usable clips out of old footage, VSL takes and material nobody has mined yet. This is where a strong content manager becomes obviously worth the top of the band, and where a weak one goes quiet.

Then publish and file. What is scheduled goes out. Everything you exported gets named properly and put where it belongs, so that in four months we can still find the exact version that worked.

Then one message to me. What shipped, what is live, what is stuck and who it is stuck on. Short. No format required. I read every one of them.

Yours:

• The content calendar. What goes out, when, and in what order.
• Hooks and scripts, for organic and for ads.
• Every edit. Pacing, cuts, subtitles, on screen text, sound, cover frames.
• The creative pipeline. Ideas in one end, finished ads out the other, at a rate we agree in your first week and write down so neither of us can be vague about it later.
• The archive. Raw footage, project files, exports, naming. If I ask for the third version of a video from two months ago and you cannot find it, that is on you.
• Telling me when a creative is dead. You should know before I do.
• Telling me when you disagree with a piece of feedback. Once, clearly, with a reason. Then we do it my way and we look at what happens.

Mine:

• The ad account. Budgets, audiences, structure, on and off.
• The offer, the price and the promise. What we claim about results is not creative territory.
• The sales process, the setters and the closers.
• The final veto on anything that goes out with our name on it. I will use it. I will tell you why, in one line, and I will not make you guess.

The grey area is brand. I have opinions about how we sound and you will develop your own. My rule is that the account settles it. If you want to take our tone somewhere I would not have taken it, you can, on a real test, with the result visible to both of us. I have been wrong about creative plenty of times. The number is the referee, not my taste and not yours.

By day 30, the boring things are true. You know our offer well enough to explain it to a stranger. The calendar has no holes in it. Files are named so that someone other than you could find them. Your first batch of ad creative is live and I did not have to chase you for it. You have watched enough of our old ads and reels to talk about them specifically rather than generally. None of this is clever. It is just whether you can operate.

By day 60, the hooks are yours. I should have stopped writing them. You should be bringing me angles I did not ask for, and at least some of them should be uncomfortable enough that I hesitate before approving. You should be able to look at the account and tell me which creative is dying before I tell you. And your turnaround should be quick enough that when something dies on a Monday, a replacement is in the account that same week.

By day 90, two specific things. One: a cut of yours goes live with no changes from me, and then it happens again, and again, until it is the normal case rather than the exception. Two: a hook you wrote outperforms a hook I wrote, in the account, where neither of us can argue about it.

Those two are what the top of the band looks like in practice, and both are checkable by you as well as by me. That is deliberate. I do not want a pay conversation where you say you feel you are worth more and I say I feel you are not. I want us both looking at the same evidence and reaching the same conclusion at the same time.

You should not be funding your own job. Anything the work genuinely needs, we buy.

• Software. Editing suite, caption and subtitle tools, stock footage and music licences, scheduling. If there is an AI tool that makes you meaningfully faster and you can explain how, we buy that too.
• Gear. Whatever the work genuinely needs and you do not already have. You tell me what is missing and why, I make the call, and anything I do buy never comes out of your salary.
• Training. Paid courses where there is a specific gap. More usefully, my time. I have been buying media and cutting creative for this one offer every day for over a year. I know which of our ideas died and why. That is not written down anywhere and it is worth more than any course.
• Access. Eyes on the ad account. Admin on the Instagram. The whole footage library. Material from the sales side so you can hear how our customer actually talks instead of guessing at it. And me, directly, on WhatsApp. No manager in between. No ticket queue.

One more thing belongs here, and it is the thing that should tell you most about how this company operates. On our first call I turn my screen round and put the ad account in front of you. I do that before you have walked me through one link or defended one edit. What we spend. Cost per lead by creative. Which video is currently carrying us and which one I have already given up on. Which numbers I look at before I decide a creative is dead. You see my working before I see yours. I do it because I want you deciding on facts rather than on a hiring page, and because a number you have seen for yourself beats a number I typed into an ad.

Rs 25,000 to Rs 50,000 a month. Fixed salary. Not per video, not per post, not commission, not a revenue share. It arrives whether it was a good month for the ads or a bad one.

The top of that band is double the bottom, so I would rather explain it than let you guess.

The bottom of the band is someone who cuts cleanly and follows a brief. Your technical work is good. Your ideas come from me. I write the hook, you execute it well, and most things need a round of feedback before they are right. That is a real job, it is worth real money, and there is no shame in starting there.

The top of the band is someone I stop briefing. You bring the angle. You write the hook. You hand me a cut that goes live untouched. And you change what you make next because of what the account told you, without anybody asking. The two tests in the 90 day section are exactly this, written so that you can check them yourself rather than waiting for my opinion.

Where you start is a judgement I make from your three links and one small test edit. The test is one short video. It should cost you an evening, not a weekend. If I end up running it as an ad, I pay you for it whether or not you get the seat.

Where you end up is a judgement you make me change. I am not going to print a review date on a public page that I might then miss. I will commit to one out loud on the call, and it goes into your offer in writing.

And to say the obvious thing that needs saying in this market: you never pay us anything. No fee, no deposit, no training charge, no equipment cost. Money moves in one direction here and it moves towards you.

Now the parts I would want to know about before I took this seat.

Volume is relentless. The account eats creative. Something that works stops working, then it needs replacing, and the fact that you made a great video last week does not buy you a quiet week this week. If you need long stretches between projects to do your best work, you will suffer here.

Your taste is not the referee. You will make something you love and the numbers will bury it. You will make something you think is ugly and it will carry us for a month. That is genuinely hard for people who came into this through art rather than through selling. If being overruled by a spreadsheet feels like an insult, do not apply.

My feedback is blunt and fast. One line, usually in text, usually with no compliment wrapped around it. It is about the work and never about you, and it is not going to get gentler. If that sounds unpleasant, it will be. I would rather you know it now than discover it in week two.

You are the only one doing this. There is no team to absorb a bad week. If nothing goes out, it is visible immediately and it is yours.

Some of it is boring. Renaming exports. Cutting the same video into three ratios. Fixing subtitle timings. Re-uploading something because the cover frame was wrong. The glamorous version of this job does not exist anywhere, and it certainly does not exist here.

You will be judged partly on things you do not fully control. Whether a video performs depends on the offer, the market and luck, as well as on your edit. I take that into account. I do not pretend it away.