One seat, and a bar I am not lowering.
Your edits run against live ad spend in your first week.

I am Pranav Sethi. I run Agency God. We sell a high ticket coaching programme to agency owners in India, meaning people who run, or are trying to run, a social media marketing agency. What they buy from us is client acquisition. The system and the mentoring that puts qualified sales calls onto their own calendar predictably instead of by luck.

The machine is simple, and you can see all of it from the outside before you apply. A Meta ad stops someone in the feed. The ad sends them to a video at smmaonsteroids.com. The video sends them to a form. The form sends them to a call. A closer takes the call. Every step after the ad already belongs to a person here. The ad itself still belongs to me, and that is the job I am hiring out.

We have run Meta ads in India every single day for more than thirteen months without a gap. So this is not a company asking you to start a content function from nothing. There is a live account with real history in it, there is spend going out today, and there is a body of creative that has already told us plenty about what does not work.

Who you are talking to matters more than any of that. Your audience is an agency owner in India who has been sold to by everybody in this industry and has heard every promise already. A good number of them will tell you out loud that they have seen all of this before. You cannot charm that person and you cannot out shout them. You can only be specific enough, fast enough, that they stop scrolling because they recognise their own problem in your first line.

That is the entire creative brief. It is harder than it sounds, and it is why this seat exists.

The seat is Content Manager. One seat, remote, full time, anywhere in India.

Half of it is short form. Hooks, scripts, edits, covers and the posting calendar for @theagencygod. You own that calendar. Organic goes out on your judgement, and you do not wait for me to approve it.

The other half is the paid creative. The videos and statics that go into the ad account and run against money that leaves my bank every day. From your first week, not from month three, and not into a folder we agree to look at later. Paid is the one half where I keep a yes, because that is my money sitting behind it. I separate those two properly further down, because it is the part people gloss over when they say they want ownership.

Now the boundary, because I would rather repel the wrong applicant on this page than three weeks into the job.

This is not a media buying seat. I run the ad account. Budgets, audiences, account structure, what gets scaled, what gets killed, when we push and when we pull back. All of that stays mine. You will see the numbers, because nobody can make good creative blind, and I will show you how I read them. You will not be touching spend.

I am spelling that out because it is the single most likely way this goes wrong. If what you actually want is to run campaigns, you will spend your first month quietly negotiating that boundary instead of getting better at the thing I am paying you for, and we will both lose that month. Do not apply. It is not a judgement on you. It is a mismatch, and mismatches are expensive for everyone in them.

If what you want is for your creative to be judged by whether it sold something rather than by whether the room liked it, this is the closest seat to that I know how to offer anybody.

Numbers first, before you make anything. You open the account and look at what yesterday's creative did. Which video held past the first three seconds. Which one lost people at second seven. Which one people watched all the way and then did not click, which is a completely different failure and needs a completely different fix. You write down what you think happened. Not a report for me. A note for yourself, so the next thing you cut is a response to evidence instead of a mood.

Then you make. This is the biggest block of the day and you should defend it. Scripting, directing what gets filmed, cutting, captions, covers. New hooks on winners that are starting to fade. Fresh angles on things we have never tried and probably should have.

Then you ship. Something goes into the ad account, or onto the calendar, or both. Most days should end with a thing that exists rather than a thing that was discussed.

Then the loop with me. You send me what you made and what you were trying to do with it. When I come back on it I am plain, sometimes blunt, and not always the same day. You will not always agree, and you should say so, with a reason. Then we put it live and the account settles the argument. Not me, and not you.

That is the day. It repeats. What makes it work is the repetition and the speed of the feedback, not any single clever idea anybody has. If you are looking for a job where the good part happens once a quarter at a strategy offsite, this is the opposite of that.

Yours, from the first week:

• The angle. What we are saying and to whom.
• The hook. The first line and the first three seconds.
• The script.
• The edit, the captions, the covers.
• The posting calendar for @theagencygod, which ships without my approval.
• The queue. What gets made next and in what order.

Mine, and not negotiable:

• The offer, and what we are allowed to claim about it.
• The budget and how it is split.
• Targeting and account structure.
• What gets scaled and what gets killed.
• The yes on anything that goes live against spend.

Those are two different things and I want them separated cleanly, because this page would be lying to you if I blurred them. Organic is yours. You publish, and I find out when everybody else does. Paid is not. I have a veto on what runs against money and I use it. What I do not do, in either half, is write your briefs or hand you concepts. If you need one before you can start, we have both misread this seat.

And ownership cuts both ways, which is the part people skip when they say they want ownership. When a batch of creative does nothing, I am not going to go looking for a reason it was not your fault. I will ask what you are changing and when I will see it. That is the deal. It is also the exact mechanism that makes you better, because nothing here stands between your work and the result.

I would rather write this down than have it be a surprise later.

By day 30. You know the offer well enough to write inside it without asking me what we sell. You have watched every ad I still have on file, including the failures, and you can tell me what the failures had in common. You are shipping short form against a calendar you set yourself. Your first creative has run against live spend, and you have watched it either hold or die, and you know which one happened and roughly why.

By day 60. You are bringing angles I did not ask for and had not thought of. Your cuts are going live with fewer changes from me each week. When something wins you can tell me which part of it won, specifically enough that we can do that part again on purpose. When something loses, you have already changed something before I have got round to asking.

By day 90. I stop briefing, because you have stopped needing it. You are running the creative queue and telling me what is going into it, and I am mostly saying yes. When I open the account in the morning I am looking at work you decided to make.

That is the bar. It is not a soft one and I am not going to pretend it is. If we are somewhere near it, good. If we are nowhere near it, we will have a plain conversation about that instead of both politely ignoring it for another quarter.

Rs 25,000 to Rs 40,000 a month, fixed. No commission, no bonus scheme I can quietly move, nothing that only arrives if a target lands.

For an exceptional creator that is not a large salary, and if you already are one, the money on this page is not the reason you would take it. If you are earning more than this today, I am not going to argue you out of that. Here is the rest of what comes with the seat.

Everything you make here is yours to show. In writing, in the offer, before you start. The work, the numbers it did, and the fact that it ran against live spend, in your portfolio, during the job and after you leave it. I am not going to hand you the best proof you will ever own and then call it confidential.

A live ad account, spending every day, as your feedback loop. Make something, and the same week a number tells you whether it moved a human being toward a purchase. That is a different answer from a like count, and it is the only one that teaches you anything.

You want to know how big that account is. You should, because the size decides how fast the answer comes back. I am not putting that on a public page. It goes on the screen on the call, before you have argued for a single one of your links.

The account rather than a task list. No committee, no brief writer, no approval chain of people who have never cut a video. Tools, gear and training paid for by the company, not out of your salary.

I am not going to call any of that tuition. You are not buying something here, you are making the work. This is what the business pays for this seat today, and I am not promising you a title, a path or a number at month six, because I would be making it up.

One more thing, because it is the part that actually decides this for a freelancer. Taking this means letting a client book go, and if it ends in month five that book is not waiting for you. That cost is real and it is yours. What I can tell you is that you hear it from me early and out loud if this is not working, and you leave with everything you made and the right to show it.

Everything above is the good part. Here are the parts that would make you quit.

• The feedback is numerical and it is not kind. A video you are genuinely proud of can be dead inside two days, and there is nowhere to appeal that. You have to be able to look at it, take the lesson, and cut the next one.
• The volume is real. This seat needs consistent output, and most of it will not be your best work. The winners come out of the volume. They do not come instead of it.
• I am blunt in review. I do not soften notes and I do not wrap them in compliments first. If that reads to you as hostility, you will have a miserable time. It is not hostility. It is speed, and it is the same standard I hold my own work to.
• You do not get to run the ads. Said already, repeating here because it is the most common reason this would fail.
• Nothing on this page promises you more money later. The band is the band and there is no dated step up written into it. If a fixed number with no raise attached to a date is a dealbreaker for you, it should be, and you should not apply.
• A lot of the work is unglamorous. Recutting an old winner with a new first three seconds. Building the fourth variant of a hook that is already working. Fixing captions nobody will compliment.
• Remote means nobody sits on you. If you need someone standing behind you to produce, this falls apart quietly, and it takes about a month before either of us admits it out loud.

If you read that list and felt relief rather than doubt, that is a good sign about you.

Saying you can write hooks and edit decides nothing here. So here is what actually decides it.

They have their own numbers and they say them without being pushed. Not follower counts. Retention. Where people dropped and what they did about it. If you have made a lot of short form and have never opened a retention graph on your own work, you have been making content rather than learning from it.

They have a flop they can talk about clearly. Everyone leads with the winner. The person I want tells me about the one that failed, what they expected to happen, what actually happened, and the specific thing they changed next. That answer cannot be faked, because someone who has not lived it does not have the detail.

They go and look before they talk. Our ads are public. The person who gets this will have watched them, formed a view, and arrived with a specific criticism and a specific replacement. Not "the hook could be stronger". The hook, written out, in their own words, ready to run.

They separate the idea from the execution. When something wins, they know which part won. That is the difference between someone who can repeat a result and someone who got lucky and cannot tell the difference.

They are honest about what they are not good at yet. I do not hold that against anybody. What I do not get past is a claimed strength the links do not support.

If four of those five are true of you today, apply. If none of them are, this is not a bar you clear by wanting it badly.

The process, in order:

1. You fill in the form. It is hard and it is meant to be. It lands with me. Not a recruiter, not a shared inbox somebody else reads.

2. I look at question one first. Whether this can genuinely be your full time work. It sits at the top of the form on purpose, because a disqualifier waiting at the end of an hour is a trap, and I am not laying one for the people who took this seriously.

3. Then I read the teardown. Before your links, before your CV, before your name. If it is missing, or if it is something you could have written without opening our ads, the rest does not get read. That is the honest mechanic and I would rather you knew it going in.

4. One call, if it stands out. I message you on WhatsApp to set it up. On that call I share my screen and show you the ad account before you have argued for a single one of your links. What we spend. What each creative did. Which one is carrying us and which one I gave up on. You see my working before I see yours.

5. One small test edit, paid. I pay you for it whether or not I end up running it, and whether or not you get the seat. I tell you what it pays before you start. Spec work is spec work, and I am not asking you for any.

6. An offer, or nothing. No reply is a no. I would rather write that here once than have you refreshing an inbox.

Now go and verify me, and please actually do it:

• Our ads are public in the Meta Ad Library. Search the page name Agency God, two words, and set the country to India.
• Instagram: @theagencygod.
• Opt in at smmaonsteroids.com as if you were a buyer and let the whole funnel happen to you. That is the funnel you would be feeding.
• Our other open roles sit at hiring.agencygod.in.

Do not take my word for any of it. The teardown is only as good as the looking you did first.