"One good ad is worth a thousand bad AI ads."
Her thesis statement on AI-generated ads, delivered while presenting against an AI engineer on Motion's panel.
"I feel like 2024 was the year of how can we use AI and 2025 is now how do we not sound like AI or look like AI."
Her characterization of how brand requests have shifted year-over-year, arguing the industry has already overcorrected toward AI.
"If the Motion data showed me that AI content worked better, I would be doing the AI content, but it's just not the case."
Her defense against accusations that her anti-AI stance is ideological rather than data-driven.
"Slack and email are not project management tools. I'll say that again, louder for the people in the back."
Her PSA on operational discipline when producing 200+ ads per week across 50 clients.
"If you're just changing the text on top, Facebook doesn't really see it as a different variation. You really want the visual aspect to be different."
On how Meta's Andromeda update treats creative variations — visual distinctness in the first 3–5 seconds is required.
"The age of your target demographic should be the length of your ad."
Her most-cited heuristic, applied across every client — 60-year-olds get 60-second ads, 18-year-olds get 10–15 seconds.
"I really think the hook is the most important part of the ad in that first three seconds."
Core tenet she returns to across every talk — the first 3 seconds are where 90% of creative effort should go.
"I'm a big believer of let the creators do what they do best, which is creating raw content."
On why creators should never edit and should only provide raw footage — an early-career mistake she made in 2020 that she now won't allow on her team.
"I'm really good at researching and stealing ideas."
Her self-deprecating but honest answer to the common question of how she comes up with so many creative ideas — 80% is adapted research, 20% is net-new.
"I need full rights. That's in the contract from day one."
On creator contracts at scale — tracking partial usage rights across 40 creators is operationally impossible, so she won't work with creators who won't grant full rights.
"Treat your creators better than any other agency."
The principle behind her long-term creator relationships — some of her creators have been on her team since 2021.
"This is a performance-based business. Clients are working with me on a month-to-month basis, and if my ads aren't performing, then I'm getting the boot."
On why creative reporting via Motion is non-negotiable for her agency workflow — she's retained or fired on weekly performance.
"A lot of big brands don't just put all of their eggs in one basket... whoever can create the best ads, game on."
On how large brands like Fabletics run her agency, Narrative, and TubeScience in parallel and use Motion tagging to compare performance.
"Sometimes there's just a little bit of algorithm magic."
On a BlendJet ad made in 2020 that remained the top performer for years despite dozens of iterations — her admission that winning ads aren't fully reverse-engineerable.
"Don't film in your closet. You need to be out in some good lighting."
A representative example of her uncompromising creator QC checklist — lighting is a non-negotiable she catches in footage review before edits begin.
