John Soriano creates short-form ad concepts and edits UGC footage for DTC brands. Their posts focus on testing different hooks, angles, and edits—often using existing footage—to help brands find creative variations for paid social ads.
One raw UGC clip can become five testable ads by changing the opener.
Meaningful variations change the idea, such as problem, proof, or call to action.
Soriano reports 45 weekly variations for DTC apparel and a 4.85x ROAS high point, self-reported.
Check first: Confirm paid partnership availability, terms, and supporting performance data for reported results.
Main ideas
Most DTC brands have an angle problem, not a content problem · The first three seconds are the unit of testing · Before killing an ad, pull four numbers
John Soriano creates short-form ad concepts and edits user-generated-content footage for direct-to-consumer brands.
In five LinkedIn posts, they focus on making ad tests more meaningful: changing the angle or opening, reusing footage in different edits, and tracking which versions perform.
The posts offer practical ways to develop and assess paid-social creative, rather than simply make a video look more polished.
Soriano treats creative as a set of testable parts, not a single finished video.
One post lays out five ways to recut an existing clip, from leading with a product demonstration to opening on customer proof.
Another argues that meaningful variations change the idea—such as the customer problem, proof, or call to action—not just the captions or music.
Soriano also connects creative decisions to performance: a weak opening may call for a new hook, while low clicks or conversions may point to the offer or landing page instead.
That distinction discourages replacing footage when the problem may lie elsewhere.
Soriano reports producing 45 weekly variations for a DTC apparel brand and a 4.85x ROAS high point; these are results reported in a post, not independently verified.
Ask for supporting performance data before relying on the results.
John Soriano's published ideas return to one claim: most DTC ad testing fails because brands change the packaging, not the idea, and judge the whole video while platforms judge the opening seconds.
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From that follow the recurring priorities: multiply openers from footage a brand already owns, run a labelled high-volume test batch, and check where viewers drop off before switching off an ad. A second pattern is how they work in public: small, specific giveaways, such as three angles for one product link, that demonstrate the method instead of describing it.
Most DTC brands have an angle problem, not a content problem
Soriano argues that reshooting a product video, changing the captions or swapping the music does not create a new concept.
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A real variation changes one of five elements: the customer problem, opening hook, product demonstration, proof or call to action. The aim is to give media buyers meaningful variations they can test, not a more polished version of the same idea.
For a single product, the angle categories worth testing are a problem-first ad, a product demonstration, a customer testimonial, a founder story and an objection-handling ad.
Because Meta and TikTok judge the opening seconds, not the whole video, Soriano treats the opener as the variable to multiply.
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Their five-part re-edit requires no reshoot: pull the strongest line from the middle and lead with it; open on the problem, not the fix; start with the product demo and bring in the voiceover second; lead with a review, result or before-and-after; and cut tighter, introducing a new shot every one to two seconds. Then rewrite the captions for each cut so the first line viewers read matches the new opening.
The re-edit list turns one paid-for clip into five separate ads a brand can test. The same offer invites brands to submit one raw clip and get a recommendation on which cut to run first.
When an ad's ROAS drops, the argument is that usually one part stopped working, not the whole ad.
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Turning it off can discard footage that still performs.
Four measures show where viewers leave: hook rate (3-second views divided by impressions), hold rate (15-second views divided by impressions), click-through rate and conversion.
A low hook rate means viewers are not stopping, so keep the body and re-cut the opener.
A good hook rate with a low hold rate means the middle drags, so tighten the edit and move the proof into the first five seconds.
A good hold rate with low click-through points to the offer or call to action, not the creative.
Good click-through with low conversion points to the landing page.
Judge each number against the account's own average, not another account's benchmark.
Soriano says they shipped 45 labelled variations a week for a DTC apparel brand, making this check quick. They offer a rewritten opening hook and a first-frame test within 48 hours for one submitted ad.
The post notes that two of the four problems can be fixed in the edit, while the other two are not creative problems at all. That limits how much creative work can repair a weak offer or landing page.
Creative volume needs a labelling convention, not just more files
Soriano attributes results to volume, not one perfect video: 15 concepts a week, three hook-and-CTA versions of each, and 45 variations weekly, with the same body and footage and only the opening seconds changed.
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The hooks draw on five fixed frames — curiosity gap, contrarian, identity call-out, stat shock and negative frame — so each week's batch tests distinct psychological openings instead of repeating one approach. Each file is labelled by hook, body and version number, making it possible to identify the exact opener that starts spending and build the next batch around what worked, not guesswork.
A reported Meta campaign for a DTC apparel brand reached 4.85x ROAS, with some single variations passing €500 in spend. Soriano says the winner is rarely the ad they would have picked, which is why they make so many.
Give a specific, small deliverable instead of a pitch
The public offers are narrow and low-commitment: no sales call or long form, just useful creative direction.
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Send one product link and get three short-form ad angles to test; send a current ad and get three angles, three hooks and one short-form ad script; or submit a raw clip that has already run and get a recommendation on which of the five re-cuts to test first. This lets a brand judge the thinking on its own product before committing to anything larger.
The default three-angle set — a problem-first hook, a product demonstration and customer proof — recurs across the offers. It is the starting point Soriano uses for an unfamiliar product.
The clearest statement of the system behind the profile: how to get more ad variations from footage a brand has already paid for.
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Start here to see whether re-editing is a real method or just a slogan.
Soriano offers a five-item re-edit list using the same footage and creator, with no reshoot.
Four changes focus on the opening: pull the strongest line from the middle and put it first; lead with the problem rather than the fix; open on the product demo and bring in the voiceover second; or start with a review, result, or before-and-after.
The fifth changes the rhythm, cutting tighter so a new shot lands every one to two seconds.
Captions are rewritten for each cut so the first line viewers read matches the new opening.
The reasoning: Meta and TikTok judge the first three seconds, not the whole video, so the opener is the variable worth multiplying.
The post closes by offering to identify which of the five cuts they would test first on a submitted clip.
For brands planning a campaign
A cheap first test for a brand: make five opening variations from one existing clip, rewrite the captions to match, and run each cut separately instead of polishing a single video. Useful when the goal is test volume and the footage is already paid for.
Answers the obvious follow-up to the re-edit method: what does it look like at volume, and what did it produce?
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It is also the only post to name a specific account type, spend level, and result.
Soriano reports a 4.85x ROAS as the high point from Meta ads edited for a DTC apparel brand, with some single variations passing €500 in spend.
They attribute the result to volume, not one strong video: 15 concepts a week, with three hook-and-CTA versions of each, for 45 variations weekly.
Each opening used one of five frames: curiosity gap, contrarian, identity call-out, stat shock, and negative frame.
The body and footage stayed the same; only the first seconds changed.
Files were labelled by hook, body, and version number so that when a variation starts spending, the exact opener can be identified and the next batch built from what worked.
Soriano notes that the winner is rarely the ad they would have picked, which is why they produce so many.
For brands planning a campaign
Names a concrete test volume—15 concepts and 45 variations a week—and a labelling convention brands can copy to trace spend to a specific opener instead of guessing.
Most brands judge creative by ROAS alone and switch an ad off as soon as it dips.
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This post explains what that instinct throws away and gives a short diagnostic to run first.
The argument: when an ad's ROAS drops, usually one part failed, not the whole ad, and killing it discards footage that still works.
Four numbers show where viewers leave: hook rate (3-second views divided by impressions), hold rate (15-second views divided by impressions), click-through rate, and conversion.
A low hook rate means people are not stopping, so keep the body and re-cut the opener.
A good hook rate with a low hold rate means they stopped and then left, so tighten the middle and move the proof into the first five seconds.
A good hold rate with low CTR points to the offer or call to action, not the creative.
A good CTR with low conversion sends the brand to the landing page.
Soriano advises judging each number against the account's own average, not someone else's benchmark, and says two of the four problems can be fixed in the edit while the other two are not creative problems.
The post also recounts shipping 45 labelled variations a week for a DTC apparel brand, a practice the author credits with making the check a quick task.
It offers a rewritten opening hook and a first-frame test within 48 hours for one submitted ad.
For brands planning a campaign
A pre-pause check to determine whether a weak ad needs a new opener, a tighter middle, an offer change, or a landing-page fix. That diagnosis determines who gets the next campaign assignment and what they need to deliver.
Explains what counts as a new creative idea and what does not—the framing brands need before deciding what to test.
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Read it before commissioning variations.
Soriano argues that reshooting one product video, changing the captions, or swapping the music does not create a new creative.
A real variation changes the idea at one of five points: the customer problem, opening hook, product demonstration, proof, or call to action.
For a single product, the post lists five angles worth testing: a problem-first ad, product demonstration, customer testimonial, founder story, and objection-handling ad.
The goal is not a more polished video but more meaningful variations a media buyer can test.
The post offers three creative angles, three hooks, and one short-form ad script in return for a product link or current ad.
For brands planning a campaign
Provides a checklist for deciding whether a proposed variation is genuinely new: changing only captions or music does not count. It also gives brands angle categories to specify in a brief instead of leaving them to the creator.
The shortest way to sample how Soriano thinks about a product before committing budget.
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It shows the three-angle structure they lead with by default.
Soriano asks DTC founders and performance agencies to send one product link and offers three short-form ad angles to test: a problem-first hook, a product demonstration angle, and a customer-proof angle.
The post rules out a sales call and a long-form reply, offering only creative direction, and asks people to comment or send the link.
It is an entry-point post rather than a method post; the same three-angle pattern recurs in longer offers elsewhere.
For brands planning a campaign
A low-commitment first contact: send one product link and assess the returned angles before agreeing to a wider test. It also shows the three categories Soriano uses as a default starting set for an unfamiliar product.
John Soriano's central argument is that DTC brands usually have an angle problem, not a content problem.
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Brands produce one product video, swap captions and music, and call it a new creative, but a real variation changes the idea.
The dimensions are the customer problem, opening hook, product demonstration, proof, and CTA.
The post lays out five testable angles for a single product: problem-first, product demonstration, customer testimonial, founder story, and objection-handling.
For brands planning a campaign
Brief creative work around the idea that changes, not just the polish.
When commissioning or reviewing product variations, ask what each one changes: the problem, hook, demonstration, proof, or CTA.
Reject caption-and-music swaps as separate concepts.
Re-cut owned UGC footage into multiple testable ads
The re-edit list turns one raw UGC clip into five ads without a reshoot.
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The re-cuts: pull the strongest line from the middle and lead with it; open on the problem rather than the fix; cold-open on the product demo, with voiceover second; open on the review, result, or before-and-after; and change the pace so a new shot lands every one to two seconds.
Add new on-screen captions to each cut so the first line a viewer reads matches the new hook.
The post says Meta and TikTok judge the first three seconds, not the whole video, so the opener carries the test.
Swap the opener, vary what the first seconds lead with (problem, product, or proof), tighten the pace, and rewrite captions to match each new opening.
For brands planning a campaign
Before paying for another shoot, budget for an edit-only batch using footage already licensed. Ask the editor to deliver distinct openers and matching captions as separate files, since the same body and footage can carry different tests.
When an ad's ROAS drops, pull four numbers before switching anything off; each points to a different cause.
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A low hook rate (3-second views divided by impressions) means people are not stopping, so keep the body and re-cut the opener.
A good hook rate with a low hold rate (15-second views divided by impressions) means the middle drags, so tighten the cut and move the proof into the first five seconds.
A good hold rate with low CTR points to the offer or CTA, not the creative.
Good CTR with low conversion points to the landing page, not the ad.
Judge each number against the brand's own account average, not someone else's benchmark.
Two of the four issues can be fixed in the edit; the other two are not creative problems.
Compare each metric to the account's own average, not an external benchmark, and label files by hook, body, and version so the responsible opener can be identified later.
Two of the four diagnoses—a weak offer or CTA, and a weak landing page—sit outside the edit. Ask who will address them before treating them as creative tasks.
For brands planning a campaign
Build the diagnostic into the testing plan so a drop triggers a measurement check rather than an automatic kill. This gives the DTC apparel campaign a concrete way to decide whether the next action is an edit, an offer change, or a landing-page fix.
A reported campaign for a DTC apparel brand reached 4.85x ROAS, with some individual variations scaling past 500 euros in spend.
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The post attributes that to volume rather than one perfect video: 15 concepts a week, 3 hook and CTA versions of each, and 45 ad variations every week.
The body and footage stayed the same; only the first few seconds changed.
Each version was labeled by hook, body, and version number so the brand could identify which opener drove spend and build the next batch from what was working.
For brands planning a campaign
Treat creative volume as a weekly output with a target and naming convention, not a one-off deliverable. Without hook, body, and version tags, a winner cannot be traced back to the decision that produced it.
John Soriano describes five hook frames used across ad variations: curiosity gap, contrarian, identity call-out, stat shock, and negative frame.
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The frames use the same body and footage, with only the opening seconds changed, making them a repeatable menu for structuring a test batch rather than a set of finished concepts.
For brands planning a campaign
Use the five frames to populate a test batch, so a week's variations cover distinct psychological openings rather than repeating one approach with cosmetic changes.
John Soriano's public offer is explicitly low-commitment: send one product link or a current ad and receive three creative angles, three hooks, and one short-form ad script, with no call and no hard sell.
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The angles are a problem-first hook, a product demonstration angle, and a customer-proof angle. A parallel offer invites a single raw clip that has already run, with a reply naming which of the five re-cuts to test first.
For brands planning a campaign
Sample the approach on the brand's own product before committing to a larger engagement. Bring a specific product link or existing ad and evaluate the returned angles against the campaign's needs.
The posts do not name any brand, client, sponsor, or partner.
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John Soriano describes ad work for a DTC apparel brand and references Meta ads, but does not identify the business. Ask for the brand name and details of any client, sponsor, or partner relationship.
John Soriano writes short, operational posts about DTC paid-social creative.
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Follow the argument across five posts: most brands have an angle problem rather than a content problem, so a real variation changes the customer problem, hook, demonstration, proof, or call to action — not just the captions or music.
The five-item re-edit list shows the practical version: one raw UGC clip, already paid for, becomes five testable ads by changing what the opening seconds lead with.
The four-number diagnostic explains when to act on a losing ad instead of switching it off, and the 45-variation write-up shows what a weekly batch looks like when every file is labelled by hook, body, and version.
Read them as one method rather than four separate tips.
Each post ends with a narrow offer, letting readers test the thinking on their own product link, ad, or clip before deciding whether to follow further.
Works the same problem: DTC brands burn through paid-social creative faster than they can replace it, and the fix is a faster, more deliberate testing loop rather than bigger production budgets.
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Bilal's post about a wellness brand burning through £20,000 of creator content in under two weeks makes the case for testing velocity. The follow-up argues that ten variations of one idea is testing one idea ten times, matching Soriano's distinction between changing the idea and changing the packaging.
Bilal's proposed engine is production-side and partly synthetic: an AI avatar delivers the three-second hook, then the edit cuts to real human b-roll, with a team positioned as growth specialists rather than editors. Soriano focuses on footage a brand already owns and spends the post on measurement — hook rate, hold rate, CTR, conversion — rather than generating new material.
Shares Soriano's core editorial position: a performance ad is built around a job, not made to look polished.
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Both also warn that rising creative volume does not by itself produce better ads. Ganzina's list of what every editing decision should support — stop the scroll, introduce the problem, make the value obvious, supply trust and proof, handle objections, close with a reason to act — covers the same ground as Soriano's angle categories and re-edit list.
Ganzina writes in a diagnostic, forward-looking register, contrasting talented editors with direct-response editors and asking what will separate performing ads from the coming mountain of AI-assisted content.
They also make the case for deliberately less polished, more feed-native edits.
Soriano is more procedural, publishing numbered cut lists, named hook frames, and account metrics.
Works the same buyer problem from the media-buying side: a single winning Meta ad is a risk, and the account needs a queue of next tests across different hooks, angles, customer problems, and formats.
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That is the reasoning behind Soriano's 45 labelled variations a week. Shakoor's warning that CPA rises and ROAS falls once the account is built around one creative matches their argument for fixing the opener before killing the ad.
Shakoor's posts focus on the account as a whole and include a career-reflection piece on three years of DTC, Meta ads, and scaling.
The writing reads as buying and account strategy in a personal register.
Soriano's material is narrower and craft-specific, with editing checklists and hook frames rather than an equivalent reflection on career direction.
Posts target DTC founders and performance agencies, inviting readers to send a product link for angle teardowns, a raw clip for a re-edit list, or a comment for a rewritten hook.
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One cites a 4.85× ROAS high point from Meta ads edited for a DTC apparel brand.
These examples show the intended reader, but not who follows or sees the posts.
A LinkedIn profile lists 1,577 followers as of October 9, 2026.
John Soriano’s posts do not break down followers by geography, age, gender, job title, employer, company size, DTC category, or apparel focus.
For a campaign aimed at DTC apparel marketers, request recent LinkedIn audience demographics, if available, and survey results showing the share of followers in DTC or ecommerce marketing, apparel or accessories, creative strategy, and media buying roles.
Also request recent creative-testing results for apparel or comparable accounts to assess audience fit.
John Soriano's public collaboration route is a no-call creative review: send an ad, raw clip, product link, or current creative and receive written direction such as three angles, hooks, a short script, a re-edit plan, or a rewritten opening.
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The posts publish no paid sponsorship format, rate card, or official partnership inquiry page, and do not say these offers are paid brand partnerships. Ask whether paid partnerships are available and what the terms are.
Free ad and product-link teardown
Buyer requirement
Send one product link or current ad through the post's comment prompt or LinkedIn message.
The stated return is three creative angles, three hooks, and one short-form ad script, with no sales call or long-form pitch.
For an ad-specific request, the stated return is a rewritten opening hook, a first-frame test, and a reason the current opening loses viewers, within 48 hours.
Raw UGC clip re-edit assessment
Buyer requirement
Provide one raw clip that has already run.
The stated return is a recommendation on which of five re-edit cuts to test first: swapped opener, problem-led opener, product-led opener, proof-led opener, or tighter pace with new captions.
A DTC apparel brand wants more testable Meta ad variations from UGC it already owns. It asks for a system to turn one raw creator clip into multiple testable ads and a way to decide when a weak ad needs a new opener rather than a full reshoot.
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Reasons
John Soriano's clearest method is re-editing owned UGC: five distinct cuts from the same footage and creator. The cuts change the opener—leading with the strongest line, the problem, the product demo, or the proof—or tighten the pace with new captions. This directly answers the brief's core need.
The method is tied to a diagnostic: low hook rate means re-cut the opener; good hook rate with low hold rate means tighten the middle and move proof earlier; good hold rate with low CTR points to the offer or CTA; good CTR with low conversion points to the landing page. That gives a brand a reason to edit rather than kill an ad.
The reviewed volume example reports 15 concepts a week, three hook and CTA versions of each, and 45 variations weekly, with files labeled by hook, body, and version. The five hook frames described—curiosity gap, contrarian, identity call-out, stat shock, and negative frame—can populate a test batch.
Limits
Fit rests on method relevance to DTC creative testing, not proof of apparel-specific audience reach. The 4.85x ROAS and spend figures are self-reported in the post.
Verdict
Strong fit for the posts reviewed.
When to choose a specialist
A B2B SaaS company wants a long-form YouTube sponsorship and a gated whitepaper campaign aimed at IT directors. It asks for a creator who can carry a 15-minute technical product narrative, speak to enterprise procurement, and publish an email nurture sequence.
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Reasons
The posts address DTC founders and performance agencies, focusing on short-form ad creative, UGC re-cuts, hooks, and Meta or TikTok testing. They show no B2B SaaS, IT-buyer content, long-form video, or email nurture.
The public commercial route in the posts is a free, no-call creative review or a raw-clip re-edit recommendation. Ask for a rate card and partnership details before considering a long-form sponsorship campaign; the posts document no paid sponsorship format or partnership inquiry page.
The account had 1,577 followers observed October 9, 2026. No breakdown by job title, company size, or industry is attached, so ask for audience demographics before assessing reach among IT directors or B2B software buyers.
Possible narrow use
If the SaaS brief were narrowed to short-form paid social hooks for a product demo, the hook-frame and re-edit thinking could be tested. The posts do not evidence long-form technical credibility.
Verdict
Poor fit based on the posts reviewed.
A worked campaign example
Brief
A DTC apparel brand has an existing UGC clip that has already run. The goal is to produce and test five new Meta variations without a reshoot, then run the four-number check on the results.
Campaign angle
Treat the first three seconds as the test variable. Keep the same body and footage; change only the ad's opening, and make the opening line match the on-screen caption.
Steps
Take the raw clip and cut five versions: pull the strongest line from the middle to the top; open on the customer's frustration; cold-open on the product demo, with voiceover second; lead with proof such as a review, result, or before and after; or tighten the pace with a new shot every one to two seconds.
Write new on-screen captions for each cut so the first line a viewer reads matches the new opener. Label every file by hook, body, and version number.
Run the five cuts as separate variations against the same audience or campaign structure. Use the brand's own account averages for hook rate, hold rate, CTR, and conversion as the comparison base, not another account's benchmark.
If performance drops later, pull the four numbers before switching an ad off: low hook rate means re-cut the opener; good hook with low hold means tighten the middle and move proof into the first five seconds; good hold with low CTR means revisit the offer or CTA; good CTR with low conversion means check the landing page.
Extend the batch using the five hook frames: curiosity gap, contrarian, identity call-out, stat shock, and negative frame. Keep the same body and vary only the opening seconds.
Why it fits
John Soriano's stated re-edit method, diagnostic, labeling convention, and hook taxonomy inform this recommendation; it assumes neither a paid relationship nor particular audience demographics. Two of the four diagnoses point outside the edit, helping the brand avoid mistaking an offer or landing-page problem for a creative problem.
Choose Aqsam Bilal when ad fatigue at scale is the testing bottleneck and the brand wants a faster hook-testing loop.
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The posts describe a wellness brand that spent £20,000 on creator content in under 14 days and still hit fatigue, then present a hybrid AI UGC engine: an AI avatar delivers a three-second emotional hook, followed by real human B-roll of product pour, texture, and skin progress.
Aqsam also reframes the testing question from how many ads can be made to what the ad is trying to learn about the customer.
Each test should surface a new pain point, objection, use case, or reason to buy.
That makes Aqsam a better starting point than Soriano when the brand already has enough footage but needs a faster variation loop and a stronger learning agenda to fight fatigue.
The posts do not show how to turn one owned UGC clip into five distinct cuts.
They offer no equivalent to Soriano's five-cut re-edit list, file labelling by hook, body, and version, or four-number diagnostic separating a weak opener from a weak middle, offer, or landing page.
The commercial route is a free audit video.
If you need an executable re-edit system, ask what editing process the audit provides or plan to develop one.
Choose Nikita Ganzina when the brand suspects its editors can make polished video but not direct-response ads.
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The posts lay out what a performance ad must do: stop the scroll with a strong hook, introduce the problem quickly, make the product and its value obvious, give people a reason to trust the storytelling, use social proof to reduce skepticism, handle objections, and finish with a clear reason to act.
They also describe deliberate tradeoffs: cutting a beautiful opening shot because it takes four seconds to reach the point, using an ugly-looking customer quote because proof matters more than aesthetics, or making the edit feel native to the feed instead of like a commercial.
That makes Nikita a better starting point than Soriano when the brand needs a conversion-focused editorial standard before multiplying variations.
The posts offer criteria for judging whether an ad is built for direct response, not a step-by-step system for generating the next five testable cuts from one raw clip.
They include no Soriano five-cut template, five hook frames, numeric performance diagnostic, or version-labelling convention.
If you need immediate variations from owned footage, ask Nikita Ganzina for an operational method to produce and label the batch; the posts provide a useful quality test.
Choose Ujla Shakoor when the account-level risk is dependence on a single winning ad and the team needs replacements ready before the current winner dies.
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The posts describe scaling one creative from $1,000 to $10,000, then seeing CPA climb, ROAS drop, and sales slow.
The mistake: building an account around one hook, one angle, and one message.
Ujla Shakoor asks what is being tested next and wants different hooks, angles, customer problems, and formats, so the next winner is already in test when the current one tires.
That is a better framing than Soriano when the brand's main problem is strategic concentration rather than the mechanics of re-editing one clip.
The posts stay at the level of pipeline philosophy.
They offer no Soriano five-cut re-edit list, five hook frames, file labelling, or hook rate, hold rate, CTR, and conversion diagnostic.
If you choose Ujla Shakoor to build a pipeline of replacement ads, ask for the mechanics of turning one owned UGC clip into testable variations; the posts explain why to keep testing replacements, but not how to produce them.
This profile is based on five LinkedIn posts by John Soriano, read in full, plus an account listing observed on 9 October 2026.
The posts cover DTC ad angles, UGC re-editing, hook types, ad-performance diagnostics, and weekly creative volume, including one self-reported apparel campaign result.
Individual post dates were not available, so the material describes recurring current arguments rather than a chronology.
No other channels, longer writing, interviews, video transcripts, audience demographics, named client relationships, or commercial rate card were available.
Similar-creator comparisons on the page come from separate accounts and were not used as evidence about John Soriano's own work.
The 4.85x ROAS and 45 weekly variations are self-reported in the posts and not independently verified.
