We work with mostly consumer brands, e-commerce, DTC, and some B2B and tech (examples include: Uber, Constant Contact, Paramount+, iHerb, SmartyPants Vitamins and more), almost all of them already spending six figures a month or more on paid social by the time they come to us. And almost every one of them arrives describing the same problem in slightly different words: a creative bottleneck nobody actually owns.
It usually sounds like this. An internal team exists, but they're pulled onto website work, email, packaging, and a dozen other projects, so ad creative gets whatever time is left over. Testing is happening, technically, but it doesn't feel like anyone's learning anything from it. Most of the ads end up looking the same, because deciding what to test next has quietly become the marketing team's job instead of their agency's. This post is a walkthrough of what we actually do instead, and how the process runs month to month.
We're the Creative Engine, Not the Media Buyer
Our scope is intentionally narrow: paid social performance creative for Meta, TikTok, and YouTube, start to finish. That means researching inside your ad account, concepting, scripting, briefing, sourcing creators, production, and everything in post, animation, motion graphics, editing.
What we don't do is hands-on media buying. That stays with your internal team or your media buying agency if you have one. We're not trying to be a full-funnel shop that's mediocre at everything, we're trying to be excellent at one specific, high-leverage part of the stack, and hand you creative that your media buying, wherever it lives, can actually put to work.
What Creative Diversity Actually Means
"Creative diversity" gets thrown around a lot without much definition behind it. For us, it comes down to three components, and the combination of all three is what generates real range rather than the appearance of it.
Avatar, the buyer persona. Most brands have a core avatar, but there are almost always secondary ones worth building creative around specifically, rather than assuming one message works for everyone.
Messaging, the angle. What's the actual reason we're giving someone to buy in this particular ad, the specific hook or argument, not just the product's general value prop repeated again.
Format, the visual execution. UGC, motion graphics, a hybrid of the two, statics, GIF-style moving stills, and everything in between.
Multiply those three variables against each other and you get something close to an unlimited testing surface, far more than most accounts are actually exploring. This is also why format range matters more than it used to: Meta's delivery system increasingly rewards genuinely distinct creative concepts over volume of similar-looking assets, so an agency that only produces one format, all UGC or all statics, structurally caps how much of that testing surface you can actually reach. We wrote more about this shift in why Meta's Andromeda system has made creative diversity the new targeting lever.
Quality Over Quantity
Part of our industry has gotten quantity-obsessed, treating volume as the whole strategy and forgetting that someone still has to make a well-researched, informed ad that actually gives a person a reason to buy. Throwing a large number of unresearched ads into an account isn't a testing strategy, it's just a mess with extra steps.
We lean toward quality over raw quantity, though that doesn't mean low output, you'll still get a healthy, steady mix of creative. It means every piece of that mix is grounded in what the account's data is actually telling us, not produced to hit a volume target. Meta's own research points the same direction: creative quality is consistently the biggest driver of return, which is exactly why that's our stance and not just a preference.
What This Looks Like Across Very Different Categories
A few examples of what this approach has actually produced. Momofuku came in mostly static-heavy with only a little video, and we helped them unlock video and motion as a real part of their mix, they scaled spend 6x from an already healthy starting point. Constant Contact, a B2B brand, came in with healthy spend already and now spends three times more on our creative alone than they were when they started with us. SmartyPants Vitamins, more retail and Amazon-focused than pure DTC, saw a 59% increase in ROAS from our creative, and we've been a multi-year partner for them since. iHerb, a large supplement company, is a good example of format range in a single account: distinct UGC styles alongside comic-style motion graphics, all human-made rather than AI-generated.
The range shows up in smaller ways too, an animated visual story built around a scientific paper on caffeine's effect on spiders for one CPG brand, a polished animation next to a deliberately rough, TikTok-style day-in-the-life UGC piece for another, testimonial-style face-to-camera ads, and format-diverse work for platforms beyond Meta, including YouTube and CTV.
The Team You Actually Work With
Every client works with a small, consistent team, not a rotating cast funneled through a single account manager. A creative director leads strategy and direction and is your main point of contact on calls. A motion designer actually builds and animates the ads. A copywriter writes the scripts and on-screen copy. A project manager keeps day-to-day work on track. And on the UGC side, someone recruits, vets, and manages creators specifically, which is its own genuinely time-consuming discipline.
Our creative team is entirely US-based and senior-level, we don't offshore creative work. That shows up directly in output quality and in how streamlined communication is, especially on ad copy that has to sound genuinely native to a specific audience, which is harder to get right from a team unfamiliar with that audience's day-to-day culture.
The bigger point is access: you're talking directly with the people actually making your ads, not relaying feedback through an account manager to a creative team you never interact with.
The Actual Monthly Cycle
Each cycle starts with an audit, not just of our own creative, but everything currently in the account. We use an internal reporting tool to build dashboards showing what's actually working, what isn't, and where the gaps are.
Because we have visibility across more than a hundred other brand accounts, we also aggregate top performers across all of them into a centralized dashboard every month, giving us a read on broader trends beyond any single account. That becomes a report sent to every client, here's what we're seeing across the landscape right now, and based on that, here are the specific concepts we're proposing to test next. These are genuinely tailored per client, not a templated report, and you get to weigh in before anything goes into production, tell us what you're excited about, what you're not, before we start building.
There's also always room for your own ideas. If you have a new product, a promotion, or an ad you saw in your feed that sparked something, we'll build it. But the process doesn't depend on you supplying every idea, we're proactively driving the testing roadmap forward, not waiting for direction between requests.
Why Outside Perspective Usually Beats More In-House Output
In-house creative has a real advantage: full-time, dedicated attention from someone who can sit right next to the rest of your team. The tradeoff is perspective. An in-house team, no matter how good, is working from one account's worth of signal.
We're working across a hundred-plus brands and accounts at once, which means we can see what's actually working elsewhere, what's not, and what other brands are testing right now, and bring that pattern recognition directly into your account. In our experience, more perspective usually outperforms more raw output, which is the case we'd make for a genuine outside creative partner over pure in-house production, even accounting for the fact that we're not exactly a neutral party on that question.
What Happens Next
If any of this sounds like what your account is missing, an intro call is the natural next step. We'll talk through what's actually going on in your account, whether we're a fit, and usually get account access afterward to run a full creative audit (a live screen-share review works too if you'd rather not grant access yet). From there you'll get our full deck to review with your team, and we'll walk through packages and pricing directly, since that shifts throughout the year and isn't something worth publishing statically.
And if you're comparing us against other options, here's what we think you should actually be asking any agency you're evaluating.
Biddyco is a creative agency for Meta ads built for brands spending $100k-$5M+/month who need a genuine creative partner, not rented designer time, and not another vendor to manage on top of an already stretched internal team.
