How I Make 200+ Winning Meta Ads Per Week (Full Production Process)

Savannah Sanchez: Let's get it going. So for anyone who doesn't know me, my name is Savannah Sanchez. I founded The Social Savannah back in 2020. I've been one of the top creative ad producers for Meta and TikTok. Uh, my team is very unique. I have a team of 40 internal creators that I work with every single week on making ads for my group of around 50 clients. I have around 10 editors who also work with me and we make over 200 ads a week for my group of 50 clients. So, today is all going to be about sharing the processes behind the scenes and how I developed uh this process to be able to create such a high volume of great ads every week. Uh just below is some of the brands I've worked for including Fabletics, e.l.f., Bumble, Athletic Greens, Loop Earplugs, just to name a few. So in this session you're going to learn all the secrets around how these ads are actually made. I'm extremely excited for this one. I've never done a session quite like this before.

And I'm really pulling back the curtain on my entire process essentially. I will be emailing the deck to my newsletter subscribers. So please go to thesocialsavannah.com and sign up for my newsletter if you haven't already. Uh last time I did a Motion event like this, you all crashed my website. So thank you for that. So if you go to my website to try to sign up for the newsletter and it crashes, just try later today. I won't be sending out the deck for a couple days uh for everyone for everyone who's going to get the replay after. So all good there.

Savannah Sanchez: So I want to explain a little bit about how my process works. So every Monday, we shoot new content with my team of creators and actors. Uh on Mondays and Tuesdays is when we typically film. Then on Wednesdays and Thursdays, I work with my team of editors of creating anywhere from four to 12 ads for each client. And then on Friday, I send it for the clients to review. And so that weekly process repeats every single week. A big fan of creator whitelisting. So that means that when the ads are done, my clients get access to run the ads from their own page as well as the creator's page. We've seen creator whitelisting work incredibly well. And then of course, I create custom reports for my clients using Motion, the best software ever for creative reporting, analysis, creative research. So that's a huge part of my process as well. And then of course, I am a badged TikTok marketing partner and Meta business partner.

Savannah Sanchez: So let's talk about the team structure. So you essentially need three positions to create high-performing ads. Number one, you need the strategist. So in this case, this could be me for the Social Savannah clients. You need someone who is going through all of the data to go through all of your past ads to see what's working. You need someone who's going to be doing the creative research portion, who is going to be writing the scripts, giving the shot lists to the creators, uh reviewing the footage, giving the editors their brief, reviewing the editor's drafts to give any revisions to them, ultimately uh overseeing the ad until it's sent to the client.

Next, you need your creator. And the creator is in charge of providing all of the raw footage for the ad. And then the editor is the person who is going to take that raw footage from the creator, follow the brief in order to add the text overlays, animations, put all the clips together.

Savannah Sanchez: So to dive into a bit more about what a strategist does, I want to look at the motion reports to learn from all of the ad account data. What's great about the position I am in where I have 50 clients, I can look at the ad account data for all of my clients. So I'm looking every week to see are there any trends I can learn from one client and apply it to the others. Like if there's an editing style that's working really well or a hook, I love to be able to see that across clients to be able to build a case of why we should test a certain ad. So sharing these motion reports with my clients of how their performance is doing, as well as me looking at it every week is a huge part of the process. The next part is looking for ad inspiration, which I usually find from competitors of my client's brands. I also just look at other large brands in industries. I also have been using TikTok trends as a source of inspiration for a lot of my clients just to find really cool edits and transitions. I feel like they always trend on TikTok first before you see it in an ad. And so I use Motion for the creative research portion as well. Uh the strategist is going to decide on the hooks, write the scripts, get the shot list to editors, give feedback. And then deal with any client revisions. So this is basically what I do every week. This is what I'm doing every day is going through this process uh for my clients.

Savannah Sanchez: Next, let's dive into a bit more about what a creator and editor does. So the creator is receiving the ad inspiration and the script and the shot list from the strategist. They're providing the raw content only and no editing. So maybe you can learn a bit from my mistakes when I first got started with this in 2020. I actually had the creators do a lot of the editing, um where they would just edit it on CapCut. But you know, I'm a big believer of let the creators do what they do best, which is creating raw content. So they're providing the raw content only. They're also not finding ad inspiration. They are not the strategist behind it. You need someone who is going to be dedicated to that in separate roles. The creator is essentially receiving the shot list, the inspiration links, and the scripts and is executing on the brief. So, very different positions. And then of course, uh the editors are the ones who are going to be taking the direction and putting it all together. So I said, remember these are three different jobs and I recommend not to combine them. Don't leave strategy to the creators/editors, and don't force your strategist to star in the ad and edit on CapCut. It's just going to be very time consuming.

Savannah Sanchez: The biggest question I always get is where do I find creators? So my main source is from referrals, inbound leads nowadays just because people know my agency. So I just have an inbox of people applying. But really, a lot of these creators I started working with back in 2020, 2021, and I've built these really long-term creator relationships where every single week they're filming for different clients. And that way I can train them as time goes on, give them feedback, and they know exactly what I'm looking for. So I don't go out and find a different creator every week for a different client. How I've structured my team is I have 40 creators that I try to cover all my bases in terms of demographics, age, whatnot, male, female, so that when a client gives me a brief of who their target market is, I can match that to the best person on my team. I don't have to start the process over every week of trying to find creators and negotiating prices and getting them on board. So, how do you find good creators? Well, I think you can find them on TikTok looking at hashtags. The Twitter UGC community is really big. You can look up UGC creator hashtags on there. Casting sites like Backstage to find actors is very popular in the US. I've actually found a lot of creators just from my real life, like college sorority sisters, friends. Um especially these UGC creators are typically very well connected to other UGC creators. So I always say treat your creators better than anyone else. And that's what we do at The Social Savannah. We pay on time, we're extremely organized. All of our creators appreciate that our briefs are so comprehensive. We don't ask for a lot of revisions. We say, if you follow the brief, you won't have to give revisions. So it's very clear. Uh clear is kind is what I always try to say. Um offer incentives for referrals to other creators. That's been a really great program that's worked well to expand our creator base. And then weekly bonus opportunities. Something I've started is our creator of the week program where every week I offer a bonus to the creator who I feel provided the best footage of the week and then we highlight them to the whole team. So just things that will make you better than any other agency and make these creators do their best work for you. That's something that I take a lot of pride in.

Savannah Sanchez: Another thing I mentioned are these long-term creator relationships. So you can see in here, uh some of my OG creators started with me back in 2021, still going strong creating for me in 2026. So it's fun to see now some of them have babies and families and have really grown up. But it's all about creating these long-term relationships, not making your relationships with creators transactional. You can really bring them into your company and make them a big part of why you are successful. So finding great creators and then keeping them around, having them learn your brand or your portfolio of brands if you are an agency is really the best bet.

Savannah Sanchez: I want to share a bit more about what our creator briefs look like. So we start by sharing with the creators the product focus, some inspiration links to transitions that we like or ad examples that we like. And then the shot list. So saying, show yourself swiping up, show over the shoulder shots over the phone. This is like for an app one for the example I gave on the right. Um show the steps for creating a recipe. You're looking distressed before and then happy after. So we try to make it as organized as possible with bullet points to say, these are the shots, check them off as you do it, provide it in a Dropbox folder, and you'll be good to go. We also have them record a few different hook variations. So we'll put like a version one hook versus a version two hook, and then the script body. So handing this to the creator, I also create a content guide for them, which goes over like the main brand value props, do's and don'ts, inspiration from brands that we take from. So I just try to give them as much information as possible and then linking out those inspirations, especially for things like transitions and stuff, so they can see exactly what we're looking for and emulate that.

Savannah Sanchez: So speaking of transitions, I like to keep all of my transitions in a database so that when I'm creating these shot lists for creators, it's very easy to copy and paste. For instance, if I want them to be swiping through outfits or jumping up and then something appears. Um sometimes if I just write jumping up and something appears, they're going to be like, what do you mean by that? So I like to keep a database of all the different transitions that I like to use. Here's just a selection of them and then link out an example. And then I can easily copy and paste this into the creator briefs. Same thing goes for editors. I like to have a database of the fonts that I like, the colors, the Instagram native fonts, so that when I'm creating editor briefs, I can copy and paste.

Savannah Sanchez: So when I'm receiving raw footage from a creator, I like to go through this checklist to make sure that we got all of the clips that were required. Um are we getting all the voiceovers? Do we have enough variety in the clips to put together a great ad? That is very important. And do the clips closely follow the inspiration link that we gave the creator? And then of course, we want to make sure that the lighting is up to our standards. Is the product being presented in the best possible way? Is the product being used correctly? Is the acting believable? Do the testimonials look authentic? Um what are they wearing? What are their facial expressions? What are their energy levels? Does it match what we're looking for? Is the setting appropriate for this concept? Sometimes creators will film in their messy closet for a random product. And I'm like, no, don't film in your closet. You need to be out in some good lighting. You know, sometimes biffs happen. So you have to be able to go through all the footage, go through the checklist and make sure all of our bases are covered. Another thing that we look out for is is HDR turned off? Because then the saturation will be all messed up when we put it in post-production. Anything distracting, is the camera shaking? Is there any smudges on their lens? That happens all the time. And we have to send back footage to the creators to refilm. And the audio quality, if they have a fan going or the air conditioning or construction noise that you can hear in the background, we need them to re-record it or we could put it through an AI software and see if we can minimize some of that background noise. Is the voiceover convincing or believable? Do they seem monotone? We want to make sure that their voiceover doesn't just look like they're reading off a script. Are pronunciations correct? Are we saying the product name and brand correctly? So if you go through this checklist before sending your footage off to the editor, you're going to be in good shape to make sure that you're not making an expensive mistake, wasting time, having to go back and refilm things once the client sees the ad.

Savannah Sanchez: The next part of the equation is your editing team. So, admittedly, this is one of the hardest positions to hire for, especially for The Social Savannah. We really differentiate ourselves by providing really high quality and interesting edits, which require a lot of transitions, overlays. It's not just a CapCut edit. This is all effects that are done in Premiere and After Effects and they take a lot of time. So we want to make sure that our editors are well equipped to do the transitions and effects that we require of them. So, like I said before, uh with the creators, you can train them over time, give them lots of inspiration ads and feedback, treat them well, pay on time, pay well, all of those things to keep great editors on your team because I think without a great editor, you just have good footage. You really need the editor to put it all together. Uh I don't really have a secret place to find them. Job boards, I get a lot of referrals from our current editors of other editors in their network that they know. I get a lot of inbound leads for people applying for editor positions. But you just have to treat them well and keep trying different ones until you find the ones that work the best for your team. I can tell you, I've tested so many editors throughout the years and not a lot of them worked out. You really have to find those special ones who just get it. So, I'm really proud of the editor team that I've built over the last six years, but it did take a lot of time and trial and error.

Savannah Sanchez: So here's an example of what an editor brief looks like. So at the top, I like to provide edit inspiration. Usually, I will link out a report from Motion of an edit that I like. And so the motion reports makes it really easy to click on an ad, export, and then I can even add comments in Motion so that when the editor opens the link, they can see the comments of why I like the ad, they can see all the metrics related to it. So I share that motion report in the edit inspiration. I also will link out the voiceover file. And then for the editors, I will uh differentiate what is the voiceover lines that we want in the ad versus what the on-screen captions should be. And then the suggested visuals to go along with each line. And then I will do this for each version if we're doing multiple hook variations for a certain concept. So keeping it organized, again, is going to make editors really happy and make them work faster. If you just hand them a disorganized Dropbox with no captions, no anything, it's going to take them so much longer just to figure out what's going on versus if you're organized on your end and you send them a brief that's in a repeatable format that they're used to seeing every single time, they're going to work faster, they're going to be happier, and you're going to get the end result you want. So, I keep going back to the central theme about being organized and having a good process is really what enables me to create 200 plus ads a week.

Savannah Sanchez: So similarly to our creator review checklist, we also want to make sure that the edit is satisfactory before sending it off to the client. So are our time links correct? Is it too long? Is there too much filler? Is it too short where we're not conveying the main message enough? Are they sequenced together in a timeline that makes sense and is easy to follow from a viewer standpoint? Do they align with the script? Are sizes correct? Are safe zones respected? Of course, I'm looking out for any spelling or grammar errors. I absolutely do not want to have a client catch a spelling or grammar error. That is incredibly embarrassing and unprofessional. So that is something I'm looking carefully at. And which is why I provide line by line for the editor to essentially copy and paste from a Google Doc, the written transcript. Um are fonts easy to read and watch? If you have a white background with white text, that's going to be hard to read. Um is there effects that are too distracting or does it match with the brand vibe? Are the viewers able to follow the text easily both with and without sound? As we know, many people watch ads without sound on. So making sure that you're being cognizant of both. Also, when me as a strategist is looking at an ad on my computer, that's a lot bigger than what someone is typically looking at ads on, which is their phone. So making sure that it's going to be legible and understandable from a small screen. Um are the closed captions correct? Is there a CTA? And then from an audio standpoint, we want to make sure does the music choice match with the vibe that we're going for? Are there any intense drop-offs or level changes in the music or voiceover? Eliminating any background sounds using an AI tool. Um I believe Premiere Pro has an in-built AI tool that helps eliminate background sounds, which we've been using, which has been really helpful. Do the lips match up with the speaking? Sometimes in editing, you can get the lips slightly off from the voiceover file. So making sure everything is aligned. Listening to the asset with headphones, is the sound quality good? Is the voiceover volume too loud or too soft? Same goes with the music. I like to always watch the ad with sound off, especially if you are prone to overlooking spelling errors, if a letter is missing, it's helpful to completely turn off the sound and just watch the ad to see if you can spot any spelling errors. I like to do this at least one or two times before sending to the client. And then of course, going back to your brand guidelines, was there any do's and don'ts from the client that we may have overlooked? Um again, it's horrifying if a client gives a do's and don'ts and then I send them an ad and they're like, hey, this was on our don'ts. So I'm meticulously looking at their do's and don'ts, I'm looking at the final ad, double checking everything so that when the client gets it, hopefully it's just approved the first time. We don't want to have many edits if at all. So doing these little checks beforehand will save you so much time in the revision process.

Savannah Sanchez: And then lastly, the performance boosters. Is your hook engaging? Are you doing something interesting in both the imagery and the messaging? I think the hook, of course, is the most important part of the ad in that first three seconds, whether it's an interesting transition, something thumb-stopping, something that's going to get people to stop scrolling. So just checking in with yourself, is this ad boring or is this engaging? Is your pacing quick enough? As we know, TikTok generation, they can't watch something for more than 15 or 30 seconds. So if there's any pauses that we can cut out, any scenes that are just going too long, can we jump cut more often? We aim for a minimum of three seconds between each frame. Just so it's legible. But again, we're trying to keep it snappy. Um can we zoom in and out on the person giving the testimonial to emphasize certain words or just to create more interest? Does the storyline make sense? So we want to make sure that every ad follows the format of a clear hook, then we go into our story, and then our call to action. And if we didn't follow this format, why not? Maybe we're following a TikTok trend or doing something a little different. But in general, we want to stick with that sequence. Um are there any opportunities to highlight one of the human desires? Um and then also looking at the images in the ad, where do your eyes go first? Is that the intended effect? Can you use things like split screens, before and afters, us versus them to just make it more visually interesting? And then last but not least, most importantly, take pride. I like to look at the inspiration ad and think, is my ad better than the inspiration? Is it worse? How can I make it better? And then does it look good to you? Really? Like, would you be proud of this? Uh would the client be happy with this? Seriously? So when you're working fast, you're doing hundreds of ads, sometimes you do have to slow down and just be like, can I actually take pride? And I do. Every ad that comes out, I am extremely happy and would be happy to put on my website or on my Twitter or whatever. So just doing that quick gut check before sending it to the client can save you from a flop.

Savannah Sanchez: So in order to execute this, you need a process. I personally like using Trello to organize all of the creator footage, the edit process. I send all of my client ads to them in Trello to manage revisions and such. It's nothing super complicated. It's really just a timeline of uh to do, and then ready for review, revisions, needs editing. So it's like a conveyor belt in a factory. They're they're going along the process until the ad is approved and it's done. So it doesn't matter what tool you use. Of course, there's hundreds of different project management tools out there, but pick one and stay organized and have a good process. A little PSA, Slack and email are not project management tools. I'll say that again, louder for the people in the back. Do not use Slack and email to manage your editing process, getting footage from creators via email or Slack, slacking clients. That is one way to burn yourself out, uh miss things, and slow things down. So, just wanted to a little reminder for everyone of don't use Slack and email for project management. Okay, off my my high horse there.

Savannah Sanchez: So how our weeks work, every week we're filming on Mondays and Tuesdays, we edit on Wednesdays and Thursdays, and then every Friday, the client receives anywhere from four to 12 ads just depending on their package size. So you have to have a good process and stay organized in order to adhere to such tight timelines.

Savannah Sanchez: I want to share more about my tech stack. So some of the tools I like to use are Dropbox for video storage. I like to use Dropbox Replay for editing revisions. So that's what I have as the screenshot on the right side. What's cool about that is that it's similar to some other uh popular tools out there, but Dropbox now has it built in where you can add in timestamp revisions, you can even draw on the ad, arrows and whatnot. So I like to use this to give revisions to the editors and it keeps it very organized on timestamps and they can import these revisions straight into Premiere, which is really helpful because Dropbox Replay and Premiere have an integration. So I like to use this for ad reviews. Of course, Motion for reporting. I also use it for ad inspiration, but um it's really the number one tool that I use on a weekly basis so that I can go in and see how are my client's ads doing on Motion, look through all the metrics, um make sure that we're our ads are hitting our goals. I mean, 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. So I need to go in every single week and see how are my ads doing in Motion, can we make any iterations, where are people dropping off? Do we need to revisit certain creators? So it's really important when you're in such a performance-based business that you are staying on top of performance. And logging into ads manager and looking at every client's ad account is not the way. That would take me 10 times as long as it would than just to go into Motion and look at these beautiful reports. Plus the clients love the reports. They can just easily see how my ads are doing, things are tagged, things are organized. They're always really impressed with Motion. I also like to use Foreplay for ad inspiration. I feel like they have some really good search features on there for finding good ads. Uh I use Artlist for copyright-free music. I do use Slack, but for internal communication only, no project management. Um if you want to do any AI voiceovers, I really don't like AI voiceovers. I feel like they sound fake, but if you do need to use one, ElevenLabs is the leader in that. I use Notion to store all my briefs, store all my client information. Google Docs is also good for writing scripts and briefs. Trello for project management. Um these are some extras. Superhuman for email. If you haven't used Superhuman, you're missing out. QuickBooks for accounting, Canva to create this beautiful deck that you're watching right now. And then Sunsama, I use for daily checklists.

Savannah Sanchez: All righty, let's dive into my creative testing framework.

Savannah Sanchez: So the first thing you need to create an ad is you need a hook, you need an ad inspiration. So when I'm trying to decide what hooks am I going to do this week for any particular client, I like to look at what hooks are working for other clients in my motion reports. I also get new hooks from just ad inspiration research, whether it be looking through other ad libraries or coming across an organic TikTok that has a cool trend or a transition or an interesting way of delivering something. I also like to keep a I also like to keep a list of my past top-performing hooks that I've tested for other clients. So I've been making ads since 2020. I've tested a lot of hooks. I've made a lot of ads. So as you can see on that right, that's just a quick peek of my master list of hooks I've tested. I even link out the ad so that I can watch the ad. So I try to keep things organized. So if I'm ever stumped for a client, I do like to go to this master list and just scroll through and then I can usually find something that will inspire me and that I can recreate. I also like to keep track of what hooks I've tested for each client. So here's my client Supply. You can see week by week what hooks we're testing and I'll also link out the ad there so that if I need to go back and see what we've done before, it's right there. So I'm a little bit type A keeping things organized if you couldn't tell.

Savannah Sanchez: So once you pick your hook or you have your inspiration, now it's time to create your ad versions. So for example, on my smallest monthly package, usually brands spending anywhere from 30k to 100k a month in ad spend will pick this package where they're getting two overarching ad inspirations a week, with two written hook variations and two opening visual variations. So I just wanted to go through what this would look like if I was to find a cool inspiration. So on the left, that's the inspiration ad. I found that on TikTok, some organic creator did it where the products are flying into the cart. I thought that was the coolest thing ever. So I'm like, this would be perfect to test for Loop. So version one follows the inspiration really closely where the cart is in the middle, but instead of showing multiple products and different brands, we're showing the different loop ear styles. And then for version two, we wanted to see if we were just to focus on one ear style and have it fly into one cart instead of a split screen, would that perform better? So Facebook, Meta likes to prioritize different creative variations where the visual is different in the first three to five seconds. 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. So that's why version one, we have the split screen effect and version two, we don't. So it's still a very similar concept, but just different enough to where Meta is going to treat it as if it's a different creative variation.

Savannah Sanchez: Um as I'm working with a lot of clients every month, uh something that I do is I like to test hooks across clients. So if I find a really cool ad inspiration or a hook, I like to see, can this apply to multiple clients at the same time? I don't need to pick a unique hook for every single client every single week. So for example, I found this inspiration, I believe from like a a medicine or pharmaceutical ad where it had this fake poll on it. Uh like, do you like um going to Pilates? Yes. Do you like spending $40 a class? No. And then showing the results of the fake poll. I thought that was really creative. So last week we did three different variations for this for for different clients testing this poll concept. And so then what I do is after these are launched by my clients, then I can go to Motion and see, did this perform well across the board? If it does, then I have a slam dunk hook. Then I'm going to go and test this poll, fake poll concept across even more clients. So I like to get data from like a wide set of clients if possible. So if I could test this across different brands, different industries, and see that it works, then that's really great proof for me to know, okay, this is a winning concept and I should add this to my winning concept library to test for other clients.

Savannah Sanchez: So I wanted to test, I wanted to touch a little bit on Andromeda. Uh very scary, right? You know, I think it's not as scary as it seems. A lot of clients came up to me and they're like, what are we going to do differently? Uh how do we adjust to these updates? Uh I would say the biggest thing that we're doing to adjust to these updates is more persona and avatar testing, which I will go through a bit more in the next few slides. More distinct visual hook variations, like I mentioned a few slides ago. Uh Meta just not wanting to see little changes, but bigger changes, bigger swings in your iterations. Focus on more diverse value drivers in scripts, tapping into different motivations to purchase. Uh and then this is unrelated to Andromeda, but I've noticed in the last six months versus when I've been creating ads since 2020, I am drawing more inspiration from organic TikTok trends for cool edits and things to do versus looking at other ad libraries. So I wanted to throw that in there because I've seen some other people on LinkedIn also mention the same thing that they're finding better inspiration from TikTok trends versus just repeating what other companies do.

Savannah Sanchez: So to dive into a bit more about changes we've made since Andromeda, we're doing more buyer persona testing. So an example, my client Wandering Bear Coffee, our high-level goal is to test less specific versus more specific openers. This can be as simple as an A/B per hook. The first test could be a more broader, more universal opener, while the second variation is a more specific opener that calls out a clearer functional benefit and or buyer persona. So in the example I have on the right, we have her talking about saving money as the main driver and she's talking to someone behind the camera about uh the money saving aspect, where on the right, we're talking more about the flavor and the convenience. So just trying to tap into different reasons why someone would buy. Uh and then also leaning into different more um more variety of angles. So for example, for Wandering Bear, instead of just focusing on the coffee taste, we also want to go into different personas like coffee snobs, uh people who are looking for a coffee shop replacement, a treat without the regret, novelty seekers, since it comes in this fun box that goes in the fridge, deal seekers. So just mapping out what are the different avatars and personas of someone who would buy this and trying to cover all of our bases instead of just repeating the same one week after week.

Savannah Sanchez: Another thing that we really prioritize is diverse value driver testing. So in this example, my client Tobios Kit, their main value proposition is an all-in-one kit to start painting in seconds. But we do want to test different value drivers such as pain, fear of failure, blank page anxiety. It's a kit where you can practice your painting. So uh struggle of starting painting as a hobby, you don't need to be good, uh leaning into identity, reconnect with your creative side, become a painter/artist, become a painter on the go. And then focusing on the outcomes, getting lost in the painting, I made this, it's so convenient, never miss an opportunity to paint, an accomplishment in 10 minutes, focusing on uh different angles like gift giving, portability, connection with loved ones. So the overarching theme here is just that we're trying to test different angles and different reasons why someone would buy. As you can see my example ads on the right, we also do a lot of demographic testing. So the first ad we have an older lady who's talking about more about how she wants to get back into painting, but she was afraid, she didn't know where to start and talking about the ease of it. So that's one very distinct buyer persona. And then on the right, we're talking about a couple who's using this as an opportunity to connect. Uh we're leaning into Valentine's Day as that's coming up soon and uh talking about how you can connect with your partner in a meaningful way. So completely different personas, different motivators to purchase. And that's what your ad account needs with all of these Andromeda updates. It's just about how can we test different personas, different angles so that when Meta serves an ad to an individual person, it's more likely to be relevant. Meta is just measuring relevance of an ad to each individual in a more granular way. So that just means you need to cover all of your bases in terms of different personas and different motivations to purchase.

Savannah Sanchez: All right. Well, I really hope you enjoyed this presentation. It was really unlike anything I've done before. Uh I was thinking as I was doing this, I'm like, would you guys want a course from me on creative strategy? Was this interesting? Are there things I could dive into more on any of these topics? Uh definitely let me know if yes. I would love to hear some of your feedback in the poll and the chat or the Q&A, I should say, in the Q&A section. Uh as you know, I am working with so many clients and doing this process. So it is hard for me to find time to work on a course, but I really think this is such an interesting topic. And if there is enough interest in me diving into specifics of these topics, um maybe I'll I'll carve out some time in the next few months and and try to get this done. So please sign up for my newsletter on my website, not only to get the deck from today, but also if I do release a course, um that's where you'll hear about it first.

Savannah Sanchez: All right, let's go to the Q&A.

Melissa Rosen: Thank you, Savannah.

Savannah Sanchez: Awesome.

Melissa Rosen: I was going to try adding a poll quickly of do you want a course, but I feel like the overwhelming chat is yes.

Savannah Sanchez: All of you guys in the chat, thank you so much.

Melissa Rosen: Yeah, I feel like we've already got the answer. Yes, yes, yes.

Savannah Sanchez: Awesome.

Melissa Rosen: Yeah.

Savannah Sanchez: And someone's saying, can we get my website pinned? Um it's thesocialsavannah.com.

Melissa Rosen: It's in, actually, if you click on docs, like next to the chat, I also put it there, The Social Savannah. If you click on it, it'll bring you right to her website.

Savannah Sanchez: Thank you.

Melissa Rosen: Okay, I love this one. Like if you've been coming to our events in the past, Savannah has done a lot of events on hook ideas and like what's been working for her. And every time the audience is like, this is so great for inspiration, I'm also curious how do you actually produce this? Like what does your production look like? So this event came from very much like Savannah seeing those questions in the chat, hearing your feedback, and then creating this. So I'm really happy to see this resonated with everyone. I love a lot of our Q&A, it's like everybody understood the assignment. Like it's very specific to creative production, how you're how you're organizing these things. You are definitely like the most organized creative strategist I've worked with. So I think you are definitely the ideal person to ask.

Melissa Rosen: Um, so I want to start with this one from Monica. When briefing, do you leave room for their own creativity or provide strict scripts?

Savannah Sanchez: The answer is it depends. When I'm working with a new creator, for sure is I'm providing them with exact scripts. I want exactly what I want. And most of the time I am providing exact scripts for clients. But like I mentioned, some of my creator team I've been with for years and I find that when I let them run with it, it's way better than anything that I could have ever come up with. So it comes down to knowing the creator and trust. And there's certain creators on my team where I'm like, no, this is like the main message, but you say it, you do it in your own words. And it's also especially when it's a product that they personally love or they have an emotional connection with. Let's just say it's something to do with their kids. Them speaking about it from the heart is going to come off so much more authentic and better than them reading script lines. So it is a case-by-case basis.

Melissa Rosen: I love that. Yeah, it goes back to just like, yeah, working with creators that you know, that you trust, that you like understand, which goes into, actually, I'm curious this question from um Savannah. How do you pay your creators? Is it per video or are they full-time employees?

Savannah Sanchez: You know, I've tested a lot of different structures with this and currently I have a few different structures going on at the same time. I won't delve into the details as, you know, I have probably a lot of creators tuning into these sessions, but I would say the most common way is paying per video as a a contractor basis. And so, but a big part of that too is you want to make sure that you're giving them consistent work so that they're coming every week and bringing their A game. A lot of these creators are full-time creators doing this for a lot of different agencies or on their own. And so they want more work. So if you're able to say, hey, if if you do good work and you follow this brief, we're going to come back to you week after week and give you more and more ads to do. That's good motivation. That is much more motivating than trying to find a creator for a one-and-done concept, paying them a couple hundred bucks, and then they're on their way. Like you need to pitch this as this could be like a many year thing for you. If you're good at this and we're vibing, like let's let's keep doing it. So I would say try to figure out how you can make this a long-term relationship versus a transactional pay one and done. And then I message things like bonus opportunities, uh opportunities to grow in compensation, just like anyone would at a full-time job. You want to see that your work is being recognized and if they are getting good performance, that that's being valued and recognized.

Melissa Rosen: I love that. Yeah, I'm seeing some people in the chat saying they've also tested a few and and this has been their most successful as well. Um, I wanted to see this one. I'm getting into all these like very nitty-gritty questions, but I love it.

Savannah Sanchez: Let's go.

Melissa Rosen: This feels so like, I love that we're just getting into these very specific use cases with you. So Bailey asks like,

Savannah Sanchez: If I do do a course, I will definitely take all these questions and use this as my basis to like go into a lot more detail.

Melissa Rosen: Right. Yeah. Okay, so how do you handle creator usage rights?

Savannah Sanchez: I need full rights. That that's that's in the contract from day one. I'm like, I own this content because if you're managing a group of 40 creators and one person's on a three-month usage rights, one person's on six months, one person's on one month, you got a headache on your hands. And we don't got time for that. We got 200 ads to make a week. I'm not keeping track of, oh, Sally's video has been running for Loop for a day too long. Nope. We're we're negotiating it so that we 100% have full usage rights for as long as we want to run the ads. The client, we have clients that are running the same ad for years. So there's there's no room for going back and saying, hey, you got to pull this ad. So I will not work with a creator unless we're willing to they're willing to give us the full rights to the raw content.

Melissa Rosen: I love it. I feel like you're it's very clear like what type A of person I am too in the questions I'm picking. But like all of these are just very specific and I feel like I always get stuck on the technicalities of things. So being able to hear your answers is so helpful. Ian just asked like any tips on organizing Dropbox files, folders for video editors.

Savannah Sanchez: Yes. I think you can definitely segment out your voiceover clips, testimonials, B-roll. Uh that's usually like the main three categories that I like to to have in my Dropbox folders.

Melissa Rosen: Already like so helpful. So, so helpful to hear how you organize it. Um, okay, I liked this one. I saw in the chat from Javier. How do you think about expanding on winners? What do you prioritize to change and test on a winner?

Savannah Sanchez: It's such a good question. I was thinking about adding this into my slides, but then it was getting so long. I'm like, this is going to be like a two-hour session. Uh I would say the number one thing I think about is if we do have a winner, can we revisit the same creator and use the same different, same value drivers, same main messaging, but change the hook, whether it's the visual or what's being said in the hook. So it's a minor change, but keeping the the value drivers and the main messaging the same. Another way I like to reiterate off of best performers is have a different creator do the exact same script, same shot list, same everything. So it's really just the same ad but with different footage and from a different creator. So that's more trying to narrow in on the variable is this because the creator in the winning ad was really good or is this because the messaging or the editing sequence is really good? So you have to kind of pick a variable and then and then do like an A/B test to see uh what was the actual change. Another thing I like to do is just take the exact same ad that we've made and just mixing up some of the clip sequence. Or if it was a 30-second ad, can we shrink it down to a 20-second ad, a 15-second ad. So when you do find a winner, you kind of have to go in a lot of different directions. It's not just like one way to iterate off of it. You have to figure out what variable can I isolate and what could I test. And sometimes it really is just that one ad is that is the magic recipe and you can iterate off of the same ad 100,000 times and nothing performs nearly as well as the original. I'm thinking of a specific ad that we made for BlendJet in 2020 that was the best performer for years. And we've made so many iterations of that same ad in every way you can imagine and nothing performed nearly as well as the original. So sometimes there's just a little bit of algorithm magic.

Melissa Rosen: Yeah. Algorithm magic. Patent that. Um, okay, I love this one because I think this is so relevant to people working in paid ads and social ads because like you're dealing with, you know, the social feed, which is changing constantly. And so like, how do you sort of balance, like so Erin's question is, how do you make a roadmap in such a reactive state? I want to have a north star for my strategists, but, and I'll, you know, fill in the blank there, but like it's hard to when you know the feed is changing so drastically. Um how do you balance that?

Savannah Sanchez: For sure. I would say one one thing is that we don't try to copy trends, like ones that seem like they're coming in and out because as you said, when the feed's changing so quickly, if it's something really specific and not evergreen, it's going to be in and out before you could even make it. So I try to just take more general trends, like whether it's like a cool editing effect or a transition, things that first of all would make sense for someone who's not on TikTok. Um because, you know, a lot of people aren't on TikTok even though we are. Um so that you can understand what they're talking about. And then secondly, that it could have a long shelf life. I also like to organize my Notion database where I'll have a an ideas column and I'll have a different card for different ideas, whether it's things that the clients are sending me, cool things I'm finding. And then I just and sometimes these idea columns have like 20 or 30 things in them because you just find so much cool inspiration for ads for a certain brand. But I just like to tackle one a week. And so just figuring out which ones should we prioritize and just leave the rest on the list. And I think that's sometimes part of the hard part of being a strategist, you have to show restraint. Like you don't have to do it all, you don't have to do it all today. Just put it on the list, start working through one a week. And then as the weeks go on, maybe you'll be able to consolidate that list and be like, eh, I actually don't like that one anymore and you can start deleting stuff. But just think about tackling one idea a week instead of having this like bombardment of ideas that you need to do now.

Melissa Rosen: Yeah. And it's probably one of the biggest benefits of just working with somebody like you who this is your job, right? Like you're in there every day, you have examples by the nature of like this is your work, you're seeing what's working day-to-day, like it doesn't feel like something you have to go out of your way to do. It's just you're making ads every day, you're seeing how they perform. Of course, you sort of know what's working.

Savannah Sanchez: Totally. I I really do have because of Motion, I really have a pulse of what's working across all of my clients. Um so I think that's a a huge value add of working with me. I would say a lot of big brands, I want to just end with this note, they don't just put all of their eggs in one basket. They're working with me, they're also have their own team, internal team of creative strategists who are coming up with concepts and making ads. They also want me to provide an outside perspective of, okay, we need someone that's like not living our brand and breathing it every day to come in with a fresh perspective because maybe they've tried the same thing over and over and they feel like it's stale. So I would say don't just get stuck with one agency or one approach. You can bring in multiple agencies. A lot of these big brands, they're working with me, they're working with Narrative, they're working with TubeScience, like they're just like, hey, whoever can create the best ads, like game on. We don't care where it comes from, but let's see who can bring the best ideas to the table. And I love that. I love some friendly competition and we look in Motion and we can see which agency is performing the best. I think it's really fun. I think it's actually like the biggest motivator is trying to like beat out their internal team or beat out their other agency. So they kind of like pit us against each other and it's all tagged in Motion. We can see who's winning. And then I can see, okay, this agency did this other cool idea. I want to do this for my other clients. So we're all just kind of like stealing from each other and it's all in good faith and good fun, all just trying to get the best results for our clients.

Melissa Rosen: That's great. I feel like that's also what I love about like housing our little Motion community too and hosting these events. It's like, you're right, like ultimately all of us sort of work together, we bump into each other, we see each other's work. So another reason I love being a part of this community, hosting these events.

Melissa Rosen: Um, this one from Grace, is there a way to save time when doing data collection as a creative strategist? I have to create reports for every ad and this is very time consuming. How have you figured this out?

Savannah Sanchez: Well, this seems like a swing towards Motion, you know, home run. Uh promo uh opportunity. Uh Motion is how you get all of your ads into one easy to create report. You can share it with anyone on your team who doesn't even understand data or is a media buyer and see really actionable insights of why ads are working or not. So don't waste your time creating reports for every ad. If I had to do that, I would drive myself crazy. It's why I'm such a huge fan of Motion, truly and honestly, before I've even done any of these webinars for Motion, I was a power user and that's why I love coming on here and doing these because I'm I'm such a believer in the product.

Melissa Rosen: Thanks, Savannah. Yeah, I just uh just told Ed on our team to find that YouTube, so we'll post it in the chat too in a sec. Um, but yeah, eventually we'll all end up back on the farm, but for now, for now we'll keep scrolling.

Savannah Sanchez: Well, you know, I don't even know if I'll have a farm job because all of like the agriculture stuff will be like robot automation things. So we'll see. Give me some suggestions in the chat for jobs that AI can't replace.

Melissa Rosen: Oh my gosh. Um, okay, let's do this one from Deep.

Melissa Rosen: For creative strategy, how do you do deep rabbit hole research into the brand using different tools so when there can be clear, unified understanding of what to focus on in briefs? So I think like your briefs are so good. And I'm I'm definitely curious to hear too how you especially balancing a bunch of clients, right? So how do you specifically say like, this is what this client wants, this is what their customers want. Like how do you do that at scale?

Savannah Sanchez: I do it all in the onboarding process. So I have clients fill out a very in-depth brief about what they're looking for. I ask them for brands they take inspiration from, not only their competitors, but just brands they like of ad libraries that they look at. A lot of these clients are so savvy. They already are collecting a ton of ad inspiration. They know what brands they like to take inspiration from. So I like to ask them, like, who do you like? Like show me what what type of ads you like. A lot of them will point to ads in my website or like on Twitter and be like, can we do some of this, some of that? I'm like, perfect, sure, we'll start here. Uh but a lot of the times I just like to start with the tried and true. So I like to see what hooks are working across clients and formats that I know are going to perform well and test that first. I try not to get too deep into like ad creative research of like looking at too many other brands or competitors until I'm out of ideas from my list of these are the tried and true because when I'm working with clients on a month-to-month basis, I kind of have to do really well in month one. That's just how this industry works or else they're going to fire me. So I'm trying to prove myself in that first month of why they should come back for month two, three and so forth. And so by going to my tried and true hooks and formats, I have the best chance of success from the get-go. But then as time goes on, then I need to just do more research into their competitors and what other cool brands are doing, TikTok trends, and seeing how we can get outside of the box.

Melissa Rosen: Yeah. And it's probably one of the biggest benefits of just working with somebody like you who this is your job, right? Like you're in there every day, you have examples by the nature of like this is your work, you're seeing what's working day-to-day, like it doesn't feel like something you have to go out of your way to do. It's just you're making ads every day, you're seeing how they perform. Of course, you sort of know what's working.

Savannah Sanchez: Totally. I I really do have because of Motion, I really have a pulse of what's working across all of my clients. Um so I think that's a a huge value add of working with me. I would say a lot of big brands, I want to just end with this note, they don't just put all of their eggs in one basket. They're working with me, they're also have their own team, internal team of creative strategists who are coming up with concepts and making ads. They also want me to provide an outside perspective of, okay, we need someone that's like not living our brand and breathing it every day to come in with a fresh perspective because maybe they've tried the same thing over and over and they feel like it's stale. So I would say don't just get stuck with one agency or one approach. You can bring in multiple agencies. A lot of these big brands, they're working with me, they're working with Narrative, they're working with TubeScience, like they're just like, hey, whoever can create the best ads, like game on. We don't care where it comes from, but let's see who can bring the best ideas to the table. And I love that. I love some friendly competition and we look in Motion and we can see which agency is performing the best. I think it's really fun. I think it's actually like the biggest motivator is trying to like beat out their internal team or beat out their other agency. So they kind of like pit us against each other and it's all tagged in Motion. We can see who's winning. And then I can see, okay, this agency did this other cool idea. I want to do this for my other clients. So we're all just kind of sharing and it's all in good faith and good fun, all just trying to get the best results for our clients.

Melissa Rosen: That's great. I feel like that's also what I love about like housing our little Motion community too and hosting these events. It's like, you're right, like ultimately all of us sort of work together, we bump into each other, we see each other's work. So another reason I love being a part of this community, hosting these events. Um, all right, this one, Savannah, we get this again every time. And I've seen a few of them, so I'm going to use Bry's to just sort of encompass them all. Um, people saying like, I'm not in DTC, I do B2B or I'm in services, I don't have a physical product, I do an app. Um, so you we have done an event on this before, um which I can also link. But again, just to sort of reiterate for this audience and if there's anything new you want to add about how you differ your approach for DTC audiences versus everybody else.

Savannah Sanchez: For sure. It actually shares way more than you think it does. Like the approach and the way we do things. We work with a lot of apps and a lot of B2B and we're still using the cool transitions that we see work well for DTC, using testimonials, using green screen. Of course, we're using a lot more screen records of the app or the website instead of showing a physical product. But the hooks in terms of how you capture attention, it doesn't matter whether you're selling an app or a phone or makeup, you're you're just trying to capture attention. Like that's what the game we're playing. So you can definitely do that without having a physical product. We had so many really great examples in our presentation that we did last year where I did a a full breakdown of B2B ad inspiration. So really recommend checking that out. Even if you're not in B2B, I think it was just like a really jam-packed presentation full of ad inspo. So that's on Motion's YouTube. And then we do these events every quarter. This one I wanted to do something a little bit different, talk about the process, but maybe next quarter we do an updated version of like B2B ad inspiration. Uh definitely let us know in the chat or you can email me after uh this and let me know what type of what type of topics you're interested in. And if there is a lot of interest in B2B, I would be happy to do an updated webinar with Motion next time with some more ad examples.

Melissa Rosen: I love it. I didn't even realize we're at time already. I'm asking too many questions. Um you're just amazing. Thank you so much for your time. We can we can wrap it up here. Um I know we've all been here for an hour already, but what a valuable hour. Thank you so, so much, Savannah. Thank you everyone for joining. And yes, we will be following up with all the things. Sign up for Savannah's newsletter. You'll be getting an email follow-up from us with all these resources too. But yeah, thank you, Savannah.

Savannah Sanchez: Thank you. Love everyone in the chat. You guys make this all possible and I really look forward to this every quarter. So, uh would love to connect with some of you after this. Feel free to go on my website, thesocialsavannah.com, sign up for my newsletter. I will send out the deck and the recording to everyone later, uh maybe early next week. And then you can check out my ad library on my website of all the ads I've done, take some inspiration from there. But yeah, thank you so much for taking an hour out of your day to to come here. I I really appreciate everyone who's joined.

Melissa Rosen: Bye everyone.

Savannah Sanchez: Bye-bye.