Kofoshi Olayinka is a creative strategist who develops advertising for direct-to-consumer and ecommerce brands, with a focus on customer desires, ad messaging, and creative performance.
Most useful for DTC ecommerce ad creative strategy, especially desire research and awareness-stage messaging.
Best for
A DTC ecommerce brand improving ad creative with a test-and-scale method.
Not for
A brand seeking fixed sponsorship packages, published pricing, or confirmed audience demographics.
Key takeaways
Sell the desire people already have, not the need the brand assumes.
Use different messages for awareness stages: 3%, 17%, 20%, and 60%.
Treat posts as tests and analytics as results to guide scaling.
Check first: Confirm scope, pricing, audience analytics, and whether real account case data exists.
Main ideas
Ad creative should sell the desire people already have, not the need the brand assumes · One buy-now message cannot serve customers at every awareness stage · Organic posts are cheap tests, and analytics decide which ideas to scale
Kofoshi Olayinka is a creative strategist who develops advertising for direct-to-consumer and ecommerce brands.
In LinkedIn posts, they explain how to build ads around what customers strongly want, tailor messages to different stages of awareness, and use performance data to improve creative decisions.
The posts also share practical lessons about building a career and audience on LinkedIn.
Follow them for direct-response marketing ideas explained through personal stories, memorable comparisons, and clear frameworks.
Kofoshi connects customer research to creative choices.
One post contrasts what people think they need with what they want, using the image of finding an “ulcer” rather than ordinary hunger to explain why a brand should lead with a more urgent desire.
Another argues that ads should address customers who are unaware of a problem or still comparing options, not only those ready to buy.
A third treats posts as tests and analytics as their results, applying that learning loop to LinkedIn content.
Together, these examples show how audience insight can shape a message and results can guide the next test.
Career and LinkedIn-growth posts broaden the subject beyond advertising.
Kofoshi Olayinka’s recurring argument is that ad creative fails when it reflects what a brand believes customers need rather than the desire customers are already trying to satisfy.
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The fix, they argue, is research plus stage-specific messaging.
Three priorities support that position: treat organic posts as cheap tests and let analytics decide what to scale, teach through named frameworks rather than general advice, and keep stacking skills and paid mentorship rather than waiting for credentials.
The posts also document a self-described shift from copywriter to creative strategist and use their own small LinkedIn audience as the working example.
Ad creative should sell the desire people already have, not the need the brand assumes
Kofoshi Olayinka argues that brands waste ad spend by writing around what customers should need, while people actually spend on what they want.
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The post defines market desire as what people want, multiplied by how badly they want it and how many people want it.
The strategist’s job, it says, is to find the most frustrating desire a large group is already losing sleep over and put it at the top of the ad.
The method is research, not assumption.
Most products satisfy more than one desire, but not all desires are equal.
Doomscrolling is the illustration: people know they need to stay off their phones, yet average screen time is cited at 6 hours 40 minutes because they want the relief.
The comparison is ordinary hunger against ulcer hunger: one you can ignore, the other you cannot function without solving.
Kofoshi’s instruction is blunt: find the ulcer, not the hunger; sell painkillers rather than vitamins.
One buy-now message cannot serve customers at every awareness stage
Kofoshi Olayinka splits buyers into four buckets: 3% ready to buy right now, 17% gathering information and comparing options, 20% problem-aware but unsure what they need, and 60% unaware or unwilling to admit anything is wrong.
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The argument is that brands running only come-and-buy ads are fighting hardest for the smallest piece of the pie; creative strategy has to speak to all four stages. These percentages are Kofoshi’s working framework, not outside research, so ask for supporting data before applying them to a brief.
Kofoshi places their own search for a creative strategy mentor in the 3% bucket: actively looking, ready to buy, and unable to find a match.
The concrete case is a course priced at $1,999, about 2.6 million naira, that they say they would have paid for if they could afford it.
The post uses that experience to show what ready-to-buy behavior looks like from the customer’s side.
Organic posts are cheap tests, and analytics decide which ideas to scale
Kofoshi Olayinka argues that analytics—not guesswork—show why some posts travel and others stall.
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Viral posts reach second- and third-degree connections; posts that stay within the creator’s network underperform.
Posts are experiments and analytics are their results, Kofoshi says, but most people never review those results and repeat the same failed test.
They apply the same analytical habit they use to sell for direct-to-consumer brands to their own LinkedIn content.
Three factors can help a post travel beyond its network: a topic enough people relate to, hooks that make people click “see more,” and engagement outside your own network that gets the content into other feeds. The recommendation is to use analytics rather than copy what top creators post.
Skill stacking and paid mentorship are treated as an operating system, not a backup plan
Kofoshi Olayinka describes a self-assembled board of directors watched from afar, with a stated mentorship spend of over $10,000—not necessarily paid in cash, the post qualifies.
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The lessons map onto how they talk about the work: speed and community building, sales and offer creation, discipline and work ethic, broad thinking and content creation, and large-scale positioning. Each figure is credited individually rather than blended into one influence.
Adeife is credited as proof of what is possible for women like Kofoshi and as a teacher of speed and community.
Alex Hormozi is credited with sales and marketing, offer creation, and discipline.
Dan Koe is credited with philosophy, broad thinking, content creation, and self-education.
Myron Golden is credited with the idea that there is no competition and that thinking too small is the only problem.
Mahdi Shafiei is described as a North Star for the kind of leader Kofoshi wants to become.
A small LinkedIn following is presented as usable career infrastructure
Kofoshi Olayinka says they missed the 4,000-follower milestone and then 5,000, before writing about reaching 5,300.
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A content pillar had shown how to make LinkedIn work with fewer than 5,000 followers; this post is the last in that series, closing out the under-5k angle.
The reasoning is that job leads, shared opportunities, rejections that forced skill stacking, and connections made on the platform all compound even at low follower counts.
The follower numbers and six-to-seven-figure career description are self-reported.
Kofoshi attributes the move from six-figure copywriter to seven-figure creative strategist to a job found on LinkedIn, a free bootcamp someone shared there, application rejections that pushed them to stack skills, and connections made on the platform. The post offers that same free bootcamp to anyone who comments “bootcamp” and repeats the line: if Kofoshi can do it, others can.
The public position is framework-led teaching, rooted in copywriting
Across the posts, Kofoshi Olayinka teaches by naming a framework, disputing a common assumption, then walking through an example and a next step.
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Their self-description shifts from copywriting to creative strategy for DTC and ecommerce brands. The labels change while the subject matter stays close: hooks, offers, messaging, and what makes an ad sell.
The recurring devices are direct-response in style.
Posts pose a question, contradict the intuitive answer, then break it into numbered buckets or a short list, as in the awareness-stage split and the three factors behind out-of-network reach.
The sign-off identifies Kofoshi Olayinka as a creative strategist who makes ads that sell for DTC and ecommerce brands.
Answers what ad creative should sell: what people need or what they want.
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A newcomer should start here for Kofoshi's clearest framework for choosing a campaign message.
Kofoshi argues that brands build ads around what people need, while people spend money on what they want.
They use doomscrolling and average screen time of 6 hours 40 minutes as an example: people know they need to stay off their phones, but want the relief.
They define market desire as what people want times how badly they want it times how many people want it, then contrast normal hunger with ulcer hunger.
The instruction is direct: 'Your job is to find the ulcer, not the hunger.
Don't sell vitamins.
Sell painkillers.'
For brands planning a campaign
For a DTC ad brief, research the acute desire before writing product benefits. Identify the painful problem customers are actively losing sleep over and lead with it—not the need-based benefit the brand assumes matters most.
Answers how ad messaging should change with customer awareness.
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Start here for Kofoshi's segmentation model and a concrete example of how they apply it.
Kofoshi tells a story about almost paying 2.6 million naira, about $1,999, for a creative strategy course.
They came to LinkedIn looking for a creative strategy expert who looked like them, but could not find a single Black Nigerian one.
They describe themselves as one of the very first Nigerians to claim the title of creative strategist.
The post divides buyers into four buckets: 3% ready to buy now, 17% gathering information, 20% problem aware, and 60% completely unaware.
Kofoshi criticizes brands that make 'come and buy' ads aimed only at the 3%, saying they fight hardest for the smallest piece of the pie.
For brands planning a campaign
Build creative for all four awareness stages, not just bottom-funnel buyers. Specify which stage each ad serves and how the message shifts from problem education to purchase, rather than using one conversion message for everyone.
Answers how analytics can improve creative decisions.
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Start here to see how Kofoshi connects content testing to ad strategy.
Kofoshi describes noticing a LinkedIn feature that helps creators go viral and says analytics reveal the difference between viral and underperforming posts.
Viral posts reach second-degree and third-degree connections, while posts that stay inside the network are not top performers.
Kofoshi writes, 'Your posts are tests, Your analytics are results of the test,' and lists three influences: topic of interest, hooks that make people click SEE MORE, and engagement outside your network.
They call analytics their bread and butter as a creative strategist and apply the same strategy used to sell for DTC brands to LinkedIn.
For brands planning a campaign
Treat organic posts as low-cost tests for hooks, topics, and angles before spending on paid media. Use analytics from LinkedIn or other organic channels to choose which ad concepts to scale, rather than relying on intuition alone.
Answers who and what shape this strategist's thinking.
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Start here to assess whether their influences and priorities match your brand.
Kofoshi says they pay over $10,000 in mentorship fees to people they call a board of directors, adding 'maybe not in cash.' The post names Adeife for speed and community; Alex Hormozi for sales and marketing, offer creation, discipline, and work ethic; Dan Koe for philosophy, broad thinking, content creation, and self education; Myron Golden for the idea that there is no competition and the only problem is thinking too small; and Mahdi Shafiei as a North Star. The closing line is 'Show me your friend and I'll tell you who you are.'
For brands planning a campaign
Use this as a map of Kofoshi's strategic influences and operating priorities: speed, community, offers, discipline, broad thinking, and large-scale positioning. It can help a brand judge whether their approach fits a direct-response DTC engagement.
Answers how Kofoshi used LinkedIn to build a career and audience.
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Start here to understand their public positioning and the story behind their strategy work.
Kofoshi says they did not celebrate 4k LinkedIn followers because they did not feel worthy, missed 5k, and now mark 5.3k.
One content pillar was showing how to make LinkedIn work with fewer than 5k followers.
They describe moving from a 6-figure copywriter to a 7-figure creative strategist through a job they saw on LinkedIn, a free bootcamp someone shared, rejected applications that led to skill stacking, and connections made on LinkedIn.
The post ends with 'If I can, you can' and offers the free bootcamp to anyone who comments 'Bootcamp.'
For brands planning a campaign
Shows Kofoshi's audience-building approach and willingness to share resources. A founder-led or creator-led campaign can use a similar build-in-public, underdog-to-authority narrative to earn trust before pitching a product.
Recurring formats: frameworks, direct address, and sales language5
Copywriting roots and creative strategy identity2
Market desire over customer needs1
Four customer awareness stages1
Analytics as creative feedback1
Mentorship board and skill stacking1
Small-following audience building1
Market desire over customer needs
Kofoshi Olayinka argues brands waste ad spend when they build creative around what customers need instead of what they want.
Read more
The post defines market desire as what people want, multiplied by how badly they want it and how many people want it. It contrasts normal hunger with ulcer hunger, urging brands to find the “ulcer,” sell painkillers rather than vitamins, and research instead of assume.
Market desire = want × intensity × number of people wanting it; lead with the most frustrating mass desire.
For brands planning a campaign
For a DTC ad creative brief, identify the urgent desire or pain the target customer is already trying to solve, then lead with it. Test painkiller-led concepts against brand-defined benefit claims.
In a post about almost paying 2.6 million naira for a creative strategy course, Kofoshi Olayinka divides customers into 3% ready to buy, 17% information gathering, 20% problem aware, and 60% unaware.
Read more
The post says most brands only speak to the 3% and should create messaging for every stage.
3 / 17 / 20 / 60 awareness buckets, with separate creative treatment for each stage.
3 / 17 / 20 / 60 awareness buckets, with separate creative treatment for each stage.
For brands planning a campaign
A DTC creative strategy engagement should produce stage-specific ad angles, not just bottom-of-funnel buy-now creative. Brief the agency to map hooks, proof and offers to each awareness level.
Kofoshi Olayinka says viral LinkedIn posts differ from underperformers because they get engagement outside the creator's network, while weaker posts stay inside it.
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The post lists topic of interest, hooks that cause people to click see more, and engaging outside your network as three factors. It says the same analytical strategy used to sell for DTC brands is applied to LinkedIn content.
Review post analytics for out-of-network reach; test topics, hooks, and outside-network engagement.
For brands planning a campaign
For DTC creative testing, build a review loop that separates in-network approval from out-of-network reach. Use hook and topic tests to decide which ad concepts to scale, not copying top creators.
Kofoshi Olayinka says over $10,000 in mentorship fees goes to a board of directors watched from afar: Adeife, Alex Hormozi, Dan Koe, Myron Golden, and Mahdi Shafiei.
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The post lists lessons in speed and community, sales and offer creation, discipline, philosophy and broad thinking, content creation and self-education, and leadership.
For brands planning a campaign
This shows a learning posture built around sales, offers, discipline, and content systems. For a brand evaluating creative strategy support, ask which of these practices appear in the actual ad work rather than treating the list as proof of a service.
Kofoshi Olayinka did not celebrate 4k followers but later marked 5.3k, saying one content pillar was showing how to make LinkedIn work with fewer than 5k followers.
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The post says a transition from six-figure copywriter to seven-figure creative strategist came through a LinkedIn job, a free bootcamp, rejected job applications that forced skill stacking, and connections made on LinkedIn.
The follower count and income-level description are self-reported in the post and are not independently verified.
For brands planning a campaign
For a brand that wants creator-led audience growth, the angle is practical LinkedIn growth for small accounts. For DTC ad creative, treat the growth story as context rather than a substitute for campaign results.
A brand can expect educational, modular creative that turns strategy into testable buckets.
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Useful for ad concepting and internal workshops; check that the frameworks connect to measurable campaign goals.
For brands planning a campaign
The copywriting background may be relevant for messaging, hooks, and offer framing. Before briefing, confirm current creative strategy deliverables and whether the engagement includes media buying, analytics, or concepting only.
Recurring formats: frameworks, direct address, and sales language
Across the posts, Kofoshi Olayinka uses narrative openings, rhetorical questions, numbered buckets, segmented frameworks, and direct-response phrasing.
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Recurring devices include “sell painkillers not vitamins,” ads that sell like hungry salesmen, and a sign-off identifying them as a creative strategist for DTC and Ecom brands.
Framework-led teaching: problem, counterintuitive claim, framework, example, call to comment or reflect.
For brands planning a campaign
A brand can expect educational, modular creative that turns strategy into testable buckets. Useful for ad concepting and internal workshops, provided the brand checks that the frameworks connect to measurable campaign goals.
The five LinkedIn posts reviewed name no client, sponsor, or affiliate business.
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They name five people Kofoshi Olayinka follows and learns from at a distance; the “mentorship fee” framing is narrowed in the same post to “maybe not in cash.”
Two other posts mention unnamed businesses: work with “over 300 brands across the globe” and a creative strategy course priced around $1,999 (2.6 million naira) that they considered but did not buy.
Neither post names a company, so ask for the company names before attributing either claim to a brand.
Alex Hormozi
Mention
Kofoshi Olayinka names Hormozi as someone they watch and learn from at a distance, crediting them with lessons in sales and marketing, offer creation, discipline, and work ethic.
Kofoshi Olayinka names them among the people they learn from at a distance, crediting them with lessons in philosophy, broad thinking, content creation, and self-education.
In the same post, Kofoshi Olayinka calls them “my uncle” and credits them with the lesson that there is no competition and the only problem is thinking too small.
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The post presents them as an influence, not a commercial partner.
Kofoshi Olayinka writes about what makes ad creative sell or stall.
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The market desire post sets out the core argument: brands lose spend by writing around what customers need, so creative should lead with the desire people are already trying to satisfy, illustrated as ordinary hunger against ulcer hunger.
The customer awareness stages post shows how a single buy-now message misses most of the market and why messaging has to change by stage.
The LinkedIn analytics post offers the clearest look at method — treating posts as tests and reading the results instead of guessing — and reveals the habit behind the ad advice.
Two more personal posts cover mentors watched from afar and building an audience from under 5k.
Across the posts, the teaching comes through named frameworks and first-person examples rather than general commentary.
Creative strategyMarket desire and customer wantsCustomer awareness stagesContent and post analyticsCopywritingDTC and ecommerce ad creative strategyLinkedIn growth for small accountsFramework-led teaching postsFirst-person experience narrativesDTC and ecommerce brandsCreators building a small following
Israel Akhuetie
Both write for DTC and ecommerce readers about why people buy and how to turn that into repeatable ad creative.
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Both teach with named frameworks and short lists — Kofoshi with market desire and four awareness buckets, Israel with 28 ad angles grouped by motivation — and both close their posts with a one-line description of themselves as creative strategists for DTC and ecommerce brands.
Israel anchors explanations in teardowns of other companies, such as the breakdown of AG1's free welcome kit, 90-day guarantee, and subscription economics, and argues that offer design rather than more ad variations fixes weak returns. Kofoshi's posts lead with the audience's own desire and awareness level, and draw more often on personal experience — a job hunt, a mentor search, a follower milestone.
Both treat creative strategy as a subject worth teaching in public, covering why people buy, how words influence buying decisions, and the need to be visible online rather than wait to be found.
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Both favour numbered, step-by-step posts readers can act on the same day.
Emilis writes mostly for people entering the field, with blueprints for learning the skills, building a portfolio by working for free, and getting noticed, and frames AI tools as a way to widen that opening. Kofoshi writes more about the substance of the work — desire, awareness stages, and reading analytics — and uses their own career move as the running example.
Both are working ad practitioners who write from hands-on experience in ecommerce creative and use their own stories as lessons.
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Both push back on courses and credentials, stressing repeated writing and testing over theory — Kofoshi by framing posts as tests read against analytics, Kevin through scripts written weekly, hypotheses for each test, and feedback from failed ads.
Kevin emphasizes volume of reps, direct feedback from a senior, and hiring for hunger rather than a CV, with specific claims about his own ad spend and turnaround times. Kofoshi focuses on market desire and awareness stages as the deciding factors, plus LinkedIn reach, and rarely discusses team building or hiring.
The posts show a clear content fit for a DTC ecommerce brief: Kofoshi Olayinka teaches market-desire research, messaging for different customer-awareness stages, and using LinkedIn analytics to refine content.
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Before choosing them for audience reach, request recent LinkedIn audience analytics for the geography and professional roles in your brief. For employer, occupation, or seniority data, ask for audience survey results or another documented source.
Across five full LinkedIn posts (June–August 2026) and the linked profile, Kofoshi Olayinka describes client work for DTC and ecommerce brands and promotes their creative strategy services.
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No rate card, media kit, sponsored post format, audience-deliverable specification, or published inquiry route appears, so there is no off-the-shelf package to price or book. Brands should contact them through their LinkedIn profile to negotiate scope and terms, and expect the conversation to focus on creative strategy services rather than a standard creator placement.
A DTC ecommerce brand looking to improve ad creative is the clearest fit.
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Kofoshi Olayinka's posts offer a repeatable method, not generic advice: research the desire customers are already trying to satisfy, rather than the benefit the brand assumes matters; lead with the most acute version of that desire; and write distinct creative for each stage of customer awareness.
The market-desire post defines desire as want times intensity times how many people want it, and urges brands to "sell painkillers, not vitamins."
A separate post splits buyers into 3% ready to buy, 17% gathering information, 20% problem aware, and 60% unaware, arguing that "come and buy" ads aimed only at the ready group fight for the smallest share of the market.
A third post frames content as an experiment: posts are tests, analytics are the results, and the winning signal is reach beyond the immediate network, translated into paid terms as thumbstop, hold rate, and click behaviour.
Together, these ideas map directly to a creative strategy engagement covering concepting, message hierarchy by funnel stage, and a test-and-scale loop.
The posts teach and position the method but include no measured client campaign results; ask for dashboards or case data from real accounts before assuming it delivers the promised outcomes.
Confirm whether the engagement includes production and media buying, or covers concepting only, before budgeting.
When to choose a specialist
A brand seeking a pre-packaged sponsorship with fixed deliverables, published pricing, and confirmed audience composition is a poor fit based on what's published.
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The posts mention no rate card, media kit, sponsored format, usage or exclusivity terms, or partnership contact route.
They promote Olayinka's creative strategy services rather than audience-deliverable packages, and the profile snapshot reports 5,516 followers without a breakdown by geography, role, seniority, or employer.
For a brand aiming to reach a specific demographic band or book a defined number of sponsored posts at a known price, there is no package to price or book.
A brand could still negotiate directly, but would be starting from scratch and taking the risk of an unproven audience match.
The same caution applies to campaigns requiring performance guarantees or managed media spend: the posts show a strategy and teaching perspective, not a tracked ad-account track record.
A worked campaign example
Worked campaign angle for a DTC campaign to improve ad creative.
Phase one: research before writing.
Skip the benefit list and build a short summary of the specific, urgent problem customers are already trying to solve.
Mine reviews, support tickets, and search queries for the language people use when actively frustrated, then rank candidate desires by how intensely and how widely they appear.
Olayinka's framing is that the job is to find the ulcer, not the hunger: the winning insight is the painful, already-recognised problem, not the brand's preferred selling point.
Phase two: split creative by awareness stage.
Write separate concepts for the 3% ready to buy (offer, proof, urgency), the 17% comparing options (comparison, guarantee, differentiation), the 20% problem aware (problem education, symptom-led hooks), and the 60% unaware (pattern interrupt, relatable story, soft framing).
The segmentation post identifies one conversion message for all four groups as a mistake.
Phase three: run a test loop, not a single campaign.
Treat each concept as a test, read results as the answer, and judge winners by whether the creative travels beyond the brand's existing audience, not by in-network approval.
Scale concepts with the strongest early signals and use those signals to shape the next round.
Deliverables: a desire-research summary, an awareness-stage message map with named angles, a production-ready set of test concepts, and a review cadence that turns platform analytics into the next round of concepts.
Before signing, confirm whether the engagement covers concepting only or also production and media buying; ask whether real account performance data is available to demonstrate past results; and agree how to measure the work against the brand's own conversion benchmarks, since the posts include no tracked outcomes.
Choose this when the creative problem is the offer rather than the message.
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Akhuetie's breakdown of AG1 treats falling ROAS as a symptom of a missing offer strategy: teams respond by writing more ads and testing more hooks, while the fix is to increase perceived value and reduce perceived risk.
They show the mechanism in detail: a free welcome kit framed as “Save $114,” so the buyer compares value received with price paid, and a 90-day money-back guarantee that removes the risk of a first purchase.
The logic is that profit comes from the second purchase and every subscription after it.
This is the stronger starting point for a brand with subscription or repeat-purchase economics, or one where price and commitment risk block the first order rather than awareness.
Their 28-angle list also provides a ready-made taxonomy — desire, fear and pain, curiosity, proof, authority, story, and offer — useful when the team needs a large volume of angle variants to test, not one deep insight.
The angle list names types of angles but not how to rank which desire is most acute or which buyer stage each angle addresses.
A brand that does not already know the problem customers are actively trying to solve may end up with many angles and no reason to choose one.
The posts are short breakdowns that end with a direct chat invitation, but publish no pricing, scope, or engagement structure; ask for those terms before proceeding.
Choose this when the need is capability building rather than a campaign.
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Karvelis's three-step blueprint — learn the skills, build a portfolio or case studies, make yourself visible — and the later AI-powered version best serve a brand that wants to build or train an in-house creative strategist, or assess how a junior candidate plans to close the experience gap.
The posts specify the steps: watch creative strategy content, read DTC marketers daily, implement AI tools in workflows, do creative audits for brands, design ads from scratch, work for free, and post so brands can find you.
The urgency argument is plain: AI can do much of the work, the edge is temporary, so moving early matters.
Nothing in the posts here diagnoses a particular brand's product or customers.
There is no desire research, no awareness-stage mapping, and no measurement framework that could be applied to a live ad account, so this answers "how do we get and grow this skill" rather than "what should this campaign say."
Portfolio-building advice such as doing work for brands without permission carries reputational and legal risk the brand should manage deliberately.
These posts date from May and June 2025, older than the posts on the main profile, so treat them as a stable career framework rather than current campaign commentary.
No pricing, scope, or audience data appears in either post.
Choose this when the brand needs to produce scripts and video sales letters at volume, or is deciding how to screen junior creative hires.
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Tran describes a working cadence in concrete numbers: writing ten scripts a week, analysing the data on every ad, and recording a hypothesis for each test; a first five-minute VSL taking three hours, compared with roughly thirty minutes for a good seven-to-eight-minute unaware VSL later, research excluded; and a daily habit of one idea, one piece of copy, and one ad breakdown.
Tran also writes from the hiring side, arguing that a CV with no experience proves nothing; the junior who sends free example briefs and scripts every day beats the one with a polished CV; a free one-week test is the only door that opens at entry level; and they hire hunger over skill because someone who shares the vision applies what they are given.
These posts are useful for scaling in-house script production and designing a test-week hiring process.
The posts centre on breaking into the field and hiring, not message strategy for an existing product.
The performance claims — income, best-performing spend, and volume of profitable ads — are self-reported, with no account data attached.
Ask for dashboards before relying on them as evidence of results in your category.
Kofoshi Olayinka's five full LinkedIn posts, which have no publication dates, cover market desire, customer awareness stages, LinkedIn analytics, mentors, and follower growth.
The similar-creators section includes two comparison posts each from Israel Akhuetie, Emilis Karvelis, and Kevin Viet Tran, dated between May 2025 and October 2026.
The account listing reported 5,516 followers observed on October 9, 2026.
The posts here do not name a client, sponsorship format, price, audience breakdown, or measured campaign result, and no separate information about a book, show, or business is included.
