In this 30‑minute monologue Jeff Miller walks viewers through the exact 8‑step copywriting framework that helped a client double monthly revenue from $250k to $500k while cutting cost‑per‑call by 30%. He explains each component of the primary ad text – hook, story, problem, mechanism, proof, offer, urgency and PS – and why each matters for driving clicks and conversions on Meta platforms. Miller stresses the need for hyper‑specific hooks that name the ideal client and spend, concise relatable stories, problem statements that pair pain with desire, and a unique mechanism that feels fresh or is a novel re‑packaging of an old idea. He shows how to format proof with short, name‑plus‑result bullet points, craft offers that focus on outcomes rather than a list of services, and create urgency based on real‑world constraints (time, slots, staff limits). He also shares a “three‑room” brainstorming method (brainstorm, how, should) to generate multiple ad permutations without self‑censoring. Throughout, Miller uses case‑study results, analogies, and a confident, enthusiastic tone to illustrate how applying the framework can scale ad spend from $100k/month to $1M/month.
Chapters
We took a client from $250,000 a month to $500,000 a month while cutting their cost per booked call by 30% using this 8-step advertising framework, and I'm gonna walk you through it right now. My name is Jeff Miller. I do this for a living. Let's get into it. The idea behind an advertising framework, or rather a copywriting framework, is that the primary text of your advertisement does 2 things. One, it places the advertisement correctly, and 2, it turns out people who read end up buying. So in your primary text of your advertisement, aka the actual text of the ad, That is where a lot of the heavy lifting is done. I've had clients take that same framework and apply it to a video. That works as well, but to make life interesting and easy, we're just going to view this in terms of actual writing real-life text in that primary text category. On Facebook, that is above the ad. On Instagram, it is below the ad. Either way, it really moves the needle. So let's get into it. First things first is the callout at the top. That is the top 2 or 3 sentences of an advertisement. If you look at ads that typically follow direct response framework where somebody's saying, I've read that stuff and I want to buy it, again, it's the creative itself. And then right above it is the primary text that ends up having a see more button. Buyers click it and then buyers read. The purpose of the hook is not to sell the entire primary text or the entire offer. The purpose of the hook is simply to buy the click and buy additional 3, 4, or 5 seconds of people saying, okay, You got my attention. Now it's your chance to get my interest. The mistake that most people make with their hook is their hook is simply not interesting enough to the ideal client or does not call out who the ideal client should be. I've seen hooks that range from saying, hey, if you're a doctor, dentist, lawyer, accountant, attorney, small business owner, plumber, blah, blah, blah, blah, blah. That's not a hook. That's a list. A hook needs to be wildly specific to your ideal client. For example, something like, if you're a doctor with more than $100,000 to invest, you should be reading this article. That's not too hard, right? You can have hooks that talk about opportunity, pain, pleasure, all sorts of different frustrations, all sorts of different desires, all sorts of different I wishes that somebody would say this about me, but the end result is the hook, which is the first 2 or 3 seconds of your primary text. The purpose of that is to get permission and earn the click to read more. That's the whole purpose of the hook. Our best performing hooks almost always call it the ideal client, and the amount of money that they have to spend or invest in their next step. That's all we're doing here. The second part is the story. This is either client's case study, a realization, a chart or a graph, but effectively what you're doing is you're telling a story. I'm talking 1 paragraph or 2 paragraphs, or sometimes it's like a half paragraph, you know, dash, dash, dash, the rest of the paragraph, that type of thing. But effectively what you're doing is you're trying to tell a story. That story could be your client. That story could be yourself being a client. That could be a story about an observation. That could be about the things that you're reading in the newspapers, on YouTube, on Instagram, headlines hitting Twitter, that kind of thing. The story is a person reading it saying, oh, that sounds like me or somebody that I know. So you can't write a story trying to sell venture capital to HVAC buyers saying, when I was born with a silver spoon in my mouth and I went to Harvard, I always dreamed of buying an HVAC business. That's not a story, right? That is just, it's not gonna hit the way you want it to, right? Your story needs to be real, significant material, and it has to be about you, your realization, or your ideal client, and more importantly, it has to make your ideal client say, oh, that sounds like me or somebody that I know. If you can do that in 1 or 2 paragraphs or that in a half paragraph and then you list 4 or 5 things in another half paragraph, you're aces, you're off to the right direction. The next scenario is something called the problem. The next scenario is something called the problem. This is your hypothesis, this is your statement, this is the pain, this is the desire, this is the solution, this is your combination and permutation of advertisements that gets somebody to say, this is what we were trying to do and this is the problem. The bottleneck, the situation that stopped us from doing what we're trying to do. This is important, by the way. You always want to tie in a problem with a desire or a problem with a solution. You don't want to go sick and tired, frustrated, problems XYZ, 1, 2, 3. You don't want to list all those suckers out without a direction. The reason for that is you end up on the phone with somebody who lists out all their problems and then they don't have a direction to your solution. You don't want that. You don't want somebody coming on the call and just bitching, moaning, complaining. And then you got to like point them in the right direction, that's not good for anybody. But if you have somebody who has a problem and they have a perceived solution, you can point that solution either towards your products or services or to wherever you need it to go. So effectively, the difference is working with somebody who is a boulder and you have to push them, or working with somebody who is a boat and you just have to rudder them in the right direction. Those 2 philosophical differences are the difference between advertising that Generates people who are interested in your product or service and advertising that doesn't. So again, it's hook and then it's story and then is the problem sentence, the problem statement. The problem statement can be 4 or 5 sentences, just like 1 sentence at a time and then a half sentence and then 2 or 3 sentences at a time and then a sentence. You don't want it to be a massive part of your copy. You just want somebody to read it and say like, oh, I understand that this person understands my problem. And that goes a very long way of making somebody say, fuck it, I should end up paying you money. The next part is the mechanism or the how they got to the solution. So again, you have your problem sentence, you have your problem statement, you had that desire as part of your problem and solution, and now people are going, okay, so if your problem is X and your desire is Y, how did you get there? The how is your mechanism. Your mechanism should not be something that can come off the shelf than somebody has heard before. If your mechanism is something that somebody has heard before, you run into people that say, I have tried that in the past and it didn't work. Whether they're right or wrong, it doesn't matter. What matters is your mechanism or your solution or your process, your way of working is something they have not heard before or something they have not completely understood before. The same reason why Atkins stormed the world and effectively saying like, look, you've been doing dieting all wrong. You're supposed to eat less carbs and more meat and you'll be happy and you'll lose a lot of weight. The end result, by the way, is the same protein-rich diet with low-carbo intake that most doctors have been recommending for a long time. That idea has been around forever, but the new mechanism and the new way of describing that made that idea easy to digest for a whole world of populations. Another example is muscle confusion with P90X. That's effectively just changing your workout. That is a very simple way of, you know, duh, right? But when they gave it a name, it gave a whole lot of permission to a whole lot of people saying, I'm gonna try something new and something different. So that's the 2 types of mechanism. One is an old mechanism that doesn't have a lot of attention that is not necessarily done correctly with a new name, or a new mechanism with a new way of working. I used a mechanism called a wallet-out, ready-to-buy, button-seed customer campaign. Which took what was working over here and new things and put it together in a big old box called the Wallet Out, Ready, Buy, Button, Seed customer campaign. So when clients come to me saying, hey, I like marketing, that actually makes me a fuck ton of money, I would say, okay, you've heard of advertising in the past. Let's talk about why that advertising has changed, aka advertising on Meta, and what you have to do around that advertising to make sure that it works. I use analogies like You could go to the gym every day for 7 days, but you eat 1 hot dog and your ass jiggles for a week. So what you do outside of the gym matters just as much as inside the gym. What you do outside of the advertisement matters just as much as inside of the advertisement. And I had these stories for each part of my mechanism to figure out why it would work. So I ended up combining the old way of working with a new way of working, and that's sort of the 3rd way of creating mechanisms. So again, you have your old way of working reworked, you have your old way of working with new parts reworked, And then you have a brand new way of working. The analogy again that I'm going to use is GLP-1s. They've gone through this whole thing many, many times. Semaglutide, everybody's heard of that. Wegovy, everybody's heard of that. Retratide, or reta or retrotide depending upon how you want to discuss it, was over here brand new. Now it's over here. Now there's a new one, GLP-4. Oh my God, right? So it's just kind of going through these rotations of the mechanism again and again and again. And for the vast majority of people on the vast majority part of the planet who are the vast majority of the buyers, they will try it, and if it works, they'll stick with it. If it doesn't, they're looking for something new. So your mechanism needs to be one of these 3 ideas or fit into one of these 3 ideas very, very quickly. And to summarize it, you can't simply just say, our mechanism is a chair. That's boring, right? You want your mechanism to be unique, different, and something for the most part that they've never heard before. Or a wording or a phrasing that makes an old thing combined with new things different, right? So after that, you have the proof. So this is where somebody says, okay, I've got my call-out, I've read the story, I know the problem, I know the way of working, what does the proof look like? And so again, for somebody who has a problem and a solution, now they understand the before and the after, they understand the how, and now they want to know, does the solution work? This could be where you list out your case studies, this could be where you list out what other famous people are doing. This is where you say, here's the proof in the pudding. This is where you list out statistics. This is where you list out not necessarily testimonials, but more like, hey, give me the proof. That's what you're going for. And I've had people list 3, 4, 5, 10 dashes, or dash and then the proof, 5, 6, 7, 8, 9, 10 times all the way down. And each of those is like a feather in the hat of like, hey, this could work. If you want to have a good time with your proof, have something like Mike, comma, 2 or 3 sentences, or sorry, 2 or 3 words about that person, comma, and then the proof. So Mike, father of 2, comma, made X number of dollars. Janice, corporate worker, got their next Airbnb in less than 4 hours of time invested. John, comma, blank, achieved XYZ in Z time, right? So ideally your proof is like 10 sentences, 5 sentences, 6 sentences, 10 sentences in a row. Each of those sentences is a person, and ideally it's their name, and then 2 or 3 sentences about them that should line up with your ideal client. I've seen this boost numbers by 5 to 10%, which could be significant or not depending upon how much money you're willing to spend. After that, you have your offer. So here's what I'm willing to do for you. Here's what happens when we get on the phone. Here's what happens when you become a client. The offer is a list of things that you want to do, and ideally it is the bigger picture kind of things. So don't get stuck in the technicalities, don't get stuck in the idea of like, hey, this is everything that we're doing. Your offer should only be the things that make— that are highly relevant or have relevancy to the person's buying, and this is where it gets really, really hard really, really quick. So if I'm the owner of the product and I obsess with my product, I may believe that my offer is the tools on the shelf. That is incorrect. The offer is how you are solving a person's problem. The analogy, of course, is the mechanic. I take my car to the mechanic and he says, my offer to you is this, right? 'Cause he read an offer in marketing book and he's like, my offer to you is this. I'm gonna take this tool right here and I'm gonna put it into this lug nut right here and we're gonna take the lug nut off and then we're gonna take that and then we're gonna put on a new tire and then we're gonna test the tires and make sure that it works and then I'm gonna take this thing off the shelf and then over here and over here. That's not an offer at all. That is a description of work. That belongs in the back office, right? An offer is in the front office. An offer is what happens when you end up paying me money and what are the 3, 4, 5 things we're going to do together, big picture, that makes sense for you. So we'll use the mechanic analogy. Well, Mr. Johnson, my offer to you is we're going to take your car immediately. We're going to put it through a 3-point inspection test. My team is going to use all the tools, tips, and techniques that they've gathered over the 20 years of experience to figure out what's going on and why your tires are shaking on the road. And then when that is done, we're going to make a prescription on the tires that you should be using, and then if you want, we'll install them within the same hour, and if everything goes according to schedule, you could probably be out of here in like less than 36 minutes. That's an offer, right? I made my description of my products and services change to match how people perceive the bottlenecks. Again, this is hard and this is challenging because very often you're way too close to the elephant. Do you see the elephant? You think it's just parts? Nope. You gotta talk about the elephant, not necessarily the tail or the tusk or the skin, and you gotta talk about it in the way that your client describes their perceived situation. So here's an example. My offer with my Wallet Out Ready Buy Bundles Seed to Customer campaign was the following. We will create advertisements that break a habit So somebody's interested in buying your stuff. From there, we will create a landing page that makes people realize that they're in the right spot and gathers their information. We'll create a thank you page that makes people want to click, call, and schedule within 24 to 48 hours. From there, we're going to create a list and a CRM so that your team can follow up as necessary, and then we're going to create emails called a soap opera sequence so people love your story and want to buy repeatedly over the course of time. That's the kind of stuff. That's an offer. Right? It's not going to be, I'm going to go into the Ads Manager and then I'm going to use ClickFunnels and then I'm going to go ahead and use ActiveCampaign and go HighLevel. No, that's a list of products and services. We don't want to do that. Here's what happens, by the way, when you do that. They go, well, that's very expensive. I'll just go ahead and buy the hammer myself. You just told me thank you very much. So when you're trying to actually sell stuff that is a summation of your products and services and your experience with a timeline that you can deliver with staff that are very, very good. Listing out your scalpel makes people think they can just do the surgery themselves, which is obviously not the case. But again, that's what happens when you don't know the difference between back office talk and front office talk. After you show them the offer, you have a level of urgency. I would often, by the way, have my level of urgency, which is like difficult to communicate when you're selling marketing services, because the perception is you're not really losing something off the shelf. But it's much easier to communicate losing of time or client slots. So here's an example. Well, Mr. Johnson, if you're looking to get your campaign up and running in the next 2 weeks, it looks like we're gonna have to take action on this paperwork within 24 hours and preferably right now. The reason why I say that is because we're not some massive shop. We don't have downtown penthouse views, right? We're a collection of characters that are really devoted to doing amazing work, and we only have 4 people on our team. We can only take 2 clients a month. The reason why we do that is so we can deliver amazing service and amazing results. And as a side note, when we take on 2 clients, we close shop until those 2 clients are up and running getting results. Nice. That's how we run our level of urgency. That, by the way, that urgency and that scarcity combined makes people say, okay, fuck it, let's do it, right? What you don't wanna have is you don't wanna have urgency that is like for a limited amount of people for a limited amount of time, We only have 10,000 lawnmowers. That's not what we're talking about, right? If you're selling a digital product or an informational product, you can't get to say, hey, you know what? We only have 1 million digital copies. It's not gonna work out the way you think. There has to be some sort of makesense, believable urgency in addition to the timeline that somebody can justify, right? Otherwise, you end up in a scenario where you're like a plastic surgeon with a whole staff and the person comes in and says like, That's so weird because, you know, my team said I— your team said I need to buy right now, otherwise they can't honor the discount that they were going to give me. It doesn't sit well, you know what I mean? So when you have urgency, it needs to make sense for the buyer, and it can't simply be money. There has to be some sort of perceived real-life inventory or time or staff limitation. In a way that makes sense and justifies logically and emotionally in that buyer's brain. And lastly, if you feel like being funny, which I like doing, I do a PS for people who actually like go all the way to the bottom, very Frank Kern style, which is just like a hook for skimmers to get them to go up at the top. That's the whole structure of all the advertisements that we're running for a client that went from $250,000 a month to $500K a month. We're doing the same thing for a client that's doing $200,000 a month to get them to $600,000 a month. And it's the same talking script style that we use to take a client from $100K a month to now $1 million a month. That's everything, right? It's not difficult. It's not challenging if you simply sit down and do it. It is difficult and it is challenging if you let the scattered brain always looking for dopamine and always looking for a click and always looking for a blank, blank, and just like trying to click around. Don't do it. You actually want to have a sit-down and say, how can I work into this level of uncomfortability and unknown? So my brain can create answers and end up with a solution. When I'm writing ad copy, I very much enjoy Walt Disney's approach to brainstorming, and I attribute this to Walt Disney. I've learned it from 4,000 or 5,000 or 10,000 other people by now, so we're not really sure who did it, but for some reason in my head it's Walt Disney, and he calls it 3 rooms, right? The first room is for brainstorming. You don't get to say how we would do it or if it's a good idea or if we should do it. The first room is just brainstorming where we just throw crazy effing ideas on the wall. Nobody gets to say no; all they get to say is, yes, and... It's very improv style. That's the first room. You're gonna spend 30 to 45 minutes in that first room. The second room is how. You don't get to say if it's a good idea or a bad idea. You don't get to say, should we do it? Should we not do it? You get to say, if we were to do this, how would we do it? And it doesn't need to be this massive complicated plan; just think about it in 3, 4, or 5 steps ahead of time. Do like a monthly breakdown, do a weekly breakdown. How would you accomplish this goal? Once you're completed with step, or the second room, then you go into the third room and you get to say, should we be doing this? Here's what ends up happening. Most people will bounce between rooms. They'll start writing stuff down, they go, ugh, that's no good, we shouldn't be doing that. Even if I could do that, I don't know how. Then they bounce over here and then they're all the way over here. That's not going to get you where you wanna go. You're gonna be massively frustrated the whole time. When you're writing these direct response primary texts with the 9 parts of it, sit in the brainstorming room. Don't bounce between the brainstorming room, the how room, and the should room. No, we want to sit here and let the ideas kick in, maybe throw a double espresso on there, do some creative pre-work, go for a walk in the forest, that kind of thing, but just write down as many solutions as you possibly can to those 9 parts without self-selecting out whether it's a good idea or a bad idea. Once you have that, you'll probably come out with 5, 10, maybe even 15 different permutations and combutations— permutations and combinations of what your direct response primary text could look like. Once you've done that, take it into the next room and say, how would we do this? Maybe there's some how that could work. Maybe there's some how that could not work. That's fine. You don't have to worry about that, but just write out how we would Communicate what we're trying to communicate. After that, after you've got your finished primary text and you have 3, 4, or 5 of them, then you get to say yes or no. Some people go through this rotation 4 or 5 times, but the end result is if you crack that code, you can take a client from $100,000 a month to $1 million a month and have a great fucking time doing it, making a boatload of money and a percentage on the top. Peace out, see you later, bye. Bye.
