Update (August 10): My team pointed something out as we were discussing how this impacts our strategy for clients, and I want to share here.

I’m in Alaska. When I said the primaries are eight days away, I was reading my own ballot. Alaska votes on the 18th along with Florida and Wyoming. But Kansas, Michigan, Missouri, Virginia and Washington already went on the 4th, and Connecticut, Minnesota, Vermont and Wisconsin went on the 11th. Massachusetts, New Hampshire, Rhode Island and Delaware are still ahead in September.

Either way, August is peak primary season, so we all need to plan our campaigns accordingly.

And remember, the general election is November 3, so this is a problem we’re going to have to navigate for months, not days.

I have a warning and a fun challenge for you when it comes to Meta ads this week.

The US primaries are eight days away, and that means ad spending is crazy right now.

I don’t know how much you’re making as an author, but I guarantee politicians have deeper pockets.

Three minutes, recorded this morning. The short version is don't launch anything.

Your numbers aren’t broken, you’re losing an auction

It’s a really competitive time in ads.

Any new ads I’ve started in the last several days enter the auction against this increased political spending. Even if a book ad is super different than a “vote for me, don’t vote for this person because they suck” style ad, you’re still competing, because people have more than one interest. And I think political ads don’t care who’s interested anyway.

The new ads I’ve been putting up are super, super high spend. Way above what I’d normally get for those books or those accounts.

That tells me the competition is high right now.

Which means the number you’re staring at this morning isn’t a creative problem and it isn’t a targeting problem. You’re being outbid, and there is nothing inside your ad account that fixes being outbid.

So don't launch into a voting week

I strongly recommend not starting any new ads in the US on Meta until next Thursday.

That lets the primaries happen, gives us a day of news reporting, and then we should have lower spend and more normal ad auctions.

Eight days feels like forever when you have a book to sell. But a new campaign spends its first stretch working out who your reader is, and right now you’d be paying a premium for that education during the least representative week of the quarter. You’d be buying expensive data about a market that won’t exist by the end of the month.

Here’s the part that makes this worse, and I already wrote about it last week.

When Meta rolled out the new placements, the default put your ads on all content that meets their monetization policy. Tragedy or conflict. Debated social issues. Political posts.

So we’re heading into the most expensive political advertising season of the cycle, and Meta’s default setting is to park your book ad right beside the coverage driving the spend.

You’re paying more to be in a worse place. Those are not two separate problems.

Which means the brand safety pass I walked you through last week isn’t optional this quarter. Set Audience Network to limited inventory, exclude Facebook in-stream reels, and do it before October rather than after.

What to do with the week instead

So what can you do in the interim?

You can do breakdowns of your previous ads to figure out what’s working and what’s worked in the past. Look at your demographics and who it’s serving to. Look at which creatives, images, videos and copy, are doing the best.

Then get new campaigns ready. Just don’t publish them yet.

Keep them in draft, or save everything on your hard drive, so you’re ready on Thursday to get good ads up.

This is the week to read your own data instead of buying new data at a markup.

Or go where the politicians aren’t

Another thing you can do is look outside of the US.

I think a lot of authors sleep on UK, Canada and Australia as super viable markets. They’re smaller, so you can’t spend as much, but you can reap a really nice ROI.

If you’re going to start advertising internationally for the first time, don’t set up a separate campaign for each country and each series you want to advertise. Instead, do a full catalog campaign in each market.

A great place to start is the UK. Pop three to five of your series in, an ad for each, into the same campaign and the same ad set. Let it spend on what’s going to appeal most to that market.

Put the UK at $10 a day. Canada and Australia at $5 a day each.

And if your budget’s tighter, you could do $5 to the UK and $2.50 each to Canada and Australia.

See where that gets you. A lot of times there’s a really nice return, even though you can’t scale as high, and that’s a great place to look while the US ads are kind of in a deadlock.

What actually changes

So what actually changes? Less than you’d think, but for a lot longer.

Don’t launch new US campaigns into the week your best markets are voting. Watch the calendar instead of one date, and Alaska is only my date.

Do your breakdowns and build in draft the same way, and expect to keep doing it in waves through November.

And the international play stops being a way to fill eight days. The UK, Canada and Australia are where your spend goes to stay sane for a full quarter, which is a much better reason to set them up properly than a one week detour was.

I used to be able to tell Meta exactly who my reader was. Pick the author, pick the show, pick the age bracket, done.

That’s over. Meta didn’t announce it either, they just kept burying the option a little deeper every quarter.

But your targeting didn’t disappear. It moved.

It’s in your words now, and in your pictures, and it’s being read by two customers at the same time. One of them is Andromeda. The other is one very specific weird girl, and I’ll introduce you to her in a minute.

If you’ve been here for the last two posts, this is the piece sitting underneath both of them. The placements broke because Meta is taking control of where your ads run.

Can you still choose some interests at the ad set level? Of course. But they’re suggestions, not law. Ask any romance author ever who’s targeted women only and then seen her ad overtaken by male commenters.

Ouch.

Okay, so if the old way is broken and the new way is buggy, what do we do?

The words in your ad are the targeting

Facebook ads are served by their algorithm, and their algorithm is deconstructing your ad text and looking for certain keywords to figure out targeting. It’s not like you click “Romance Novels” in the targeting section and that determines everything. It’s really about the words in your ad.

So when authors bemoan that they can’t target Sarah J. Maas anymore, my answer is that you still can. You just do it through the description field (which I lovingly call the SEO block) instead of interest targeting selections.

The algorithm reads somewhere between 350 and 500 words of your ad to decide where it’s serving. That’s a lot more room than almost anybody uses.

Most authors’ copy is far too short. A single tagline, a one-sentence excerpt, and that’s just not enough data for the algorithm to understand its job.

Seriously, use the words. That’s free space Meta is handing you and most of us leave it blank.

And it isn’t only reading the copy.

Customer one reads everything, including the room behind you

Andromeda understands your customer based on the ad itself, not from who you say it’s for. There’s something called Visual Engine Optimization, where the machine reads your image or video, whatever you have attached to the creative, and it pulls out cues and signals.

Forty seconds from the lesson. Watch what’s in frame, not what I’m saying.

I recorded a lesson last month sitting at my kitchen counter. If that little bubble of me talking had been an ad, Facebook’s smart tech would probably think it’s a lifestyle ad. Maybe stay-at-home mom, or interior design, or cooking, because I’m in front of a beautiful, immaculate kitchen.

And it’s so smart, it might even catch my painting and figure out that it’s a scene from Italy. They’ll pick up on my glasses, and that I have a generally professional, academic appearance, but I’m not overly polished, my hair’s a little messy.

It might even be able to see what business cards are on my fridge.

Both the algorithm and the ads retrieval system (nicknamed Andromeda) are hyper-intelligent, and they’re paying attention to how I’m talking, the cadence, what words I’m using. They’re pulling in my transcript…

They’re considering everything.

Seriously, everything.

Meta scans the image to get key context clues. What is this product? Who is it for? What are the vibes? By adding tropes to your image, you’re giving the AI a ton of information it can read, which helps it target your ideal reader.

That’s why character art, town maps, illustrations, and the bonus things you have for your world all work so hard right now. None of that is decoration. It’s feeding a reader that happens to be a machine.

Does it get things right every time?

Of course not, but it’s getting smarter every day. Yes, even as it inadvertently breaks things in the rush for progress. Three steps forward, two steps back, is still moving us steadily toward the future, friends.

Customer two is not a demographic

I was talking with someone about personas once, and I asked, do you know who your reader is? And she said something along the lines of: yes, my reader’s this age, she lives in the city, she has this job, she has this income.

That’s not who she is, that’s what she is.

Demographics are something you’d put on a census. Women (not men), this age range, this language, this country. It describes the population, at the macro level, it’s society. Psychographics is the individual, in the mind. We’re moving from the many to the one.

So who my reader is, is not a middle-aged woman in the city.

Who my reader is, is the woman who grew up as the weird girl who had to find friendship in books and with her pet cats, because humans didn’t understand her.

And now she’s grown up and suddenly diagnosed as neuro-spicy, and raising a neuro-spicy kid who she wants to have better understood and connected as a child and not have to wait until middle age to meet himself for the first time.

That’s psychographics. And that’s me, by the way. Hello.

Why should I care, though?

In the olden days, the ads game was like the TV show Mad Men—you know, Don Draper—you’re shouting into the crowd and hoping enough people like your message that it lands. With intent-based marketing, we’re whispering to the exact right reader. No shouting required.

The questions changed. The old way was what is it, how much, and where do I get it.

The resulting conversation would go something like this:

What is it?

It’s this genre.

Cool, I’ll buy it.

Yeah, it really used to be that simple. The hard, easy sell worked on people who grew up without all the noise of the internet, who weren’t constantly being sold to every microsecond of their day.

Grab a Gen Zer scrolling social media today and try that same conversation:

What is it?

It’s a book.

Why should I choose this one and not the billions of others?

Uh, well, it’s a romance.

Yeah, you’re not giving them anything to cut through that noise.

You know the old timey cartoons with the little devil and angel that pop up on your shoulder to guide your conscience? Today, we have a single voice of reason, a little Gen Z person sitting on your shoulder being like, “okay bro, but why do I actually care though?” If you can talk back to that Gen Zer and give them a satisfying answer, you’ll make a far better ad.

Which is also why specific weirdness beats a genre label every time. Don’t just say quirky characters. Instead, let them know the cheese talks, the gnome is autistic, and the goddess is demanding. It sets the vibe a lot faster, and the correct reader will be so excited when they see it.

Because when you identify in a way that resonates, you’re already more than halfway to the sale.

(Also, yes, I totally wrote that book.)

Your two readers are actually one

You’d think writing for a machine and writing for one specific human would pull in opposite directions. They don’t. They keep asking for the same things.

Take proof of humanity. Meta values it, and ironically the AI likes imperfections because it proves a human made it. So I don’t line the books up exactly perfectly. I actually had to work at making things not exactly right, making sure the wood grain isn’t perfectly vertical, or the setup isn’t perfectly mirrored.

I intentionally introduce small bits of chaos to keep things real.

The weird girl trusts that photo for the same reason the algorithm rewards it. Neither one of them wants the polished version.

Or take the reviews. Time and time again I’ve seen the raving, incoherent Amazon reviews with typos and emojis completely outperform a starred Publishers Weekly or Kirkus review. That unhinged reader superfan is a voice people want to listen to. They don’t want a hard sales pitch or an academic showing off how smart THEY are. Readers want a friend recommending a book over coffee. They want to be seen and smiled at.

And look, I’m an audience of one. I don’t represent all buyers. But it’s something to keep in mind.

Theme works the same way. In one of my fantasy series the main character has ADHD and a side character is autistic, and I never say either word in the ad. I’m saying things that will appeal to neurodivergent people without specifically calling it out, because Meta’s algorithm is sophisticated enough to detect that anyway.

All this to say, the machine reads the vibe that the human feels. It’s more or less the same signal, so you only have to write it once.

So what do you actually do?

Stop trying to rebuild the target box, because it isn’t coming back.

Write to one specific person, in enough words that the machine has something to chew on. Put your comps and your micro-tropes and your media comps down in the SEO block. That’s where the interest targeting went to live. Then let it be a bit messy, because both of your customers prefer it that way.

So that’s the two-customer rule. Andromeda and the weird girl, reading the same words and wanting the same thing.

Now go look at the last ad you ran and tell me what Andromeda would decide about it from the picture alone. Way off? Closer than you expected? No idea at all? Put it in the comments, because the wrong guesses are the most useful ones. Hope this helped!

Over the first weekend of August, Meta rolled out new ad placements and new features, and those things have broken a lot of ads, traffic ads in particular.

I only caught it because I happened to be setting up new campaigns at the same moment it went live. Every single one of my new campaigns broke, and they all broke the same way. Same symptom, same time, no warning.

So I recorded a walkthrough. Below is where these settings live, what they actually do, and what I’m changing across every account I manage today.

Seven minutes, screen recorded, showing exactly where each of these settings lives.

First, your dashboard looks worse than it is

Before you panic at the number, know that two separate things are happening at once.

Amazon has been lagging its reporting this week by as much as three days before it catches up. I’m seeing that across every account I manage, not just mine.

So if you’re looking at a scary fall off right now, some of that is a Meta problem and some of it is an Amazon problem, and together they create mega scariness.

Which means your first job isn’t to fix anything. It’s to figure out which of the two you’re actually looking at.

The change most people will catch

Open a new campaign and go into an ad set. Meta is now immediately pushing you to serve to Messenger, Instagram and WhatsApp messages.

That’s a really spammy placement and we don’t want it. If you’re sending people to a book on Amazon or to your own store, flip it to website.

Most people will spot that one on their own. It isn’t the nefarious change.

Then the placements, and yes I’m reversing myself

A lot of authors were trained to run newsfeed only. Then Andromeda arrived and it wanted Advantage Plus placements instead.

I generally endorse Advantage Plus placements. Just not right now, not with what they’ve broken.

So click into Advantage Plus placements and switch to manual. Then pick Facebook feed and Instagram reels, and that’s it.

While you’re in there, uncheck the box that lets Meta spend in the placements you just excluded. Otherwise you’ve closed the door and left the window open.

You can potentially leave Facebook reels on too, but fair warning, they will eat your entire budget unless you have value rules in place. If you don’t know what value rules are, that’s a whole other lesson and I have plenty of videos on it. The full build is in the mastermind I’m running this fall, if you want it done properly.

And here’s the nefarious part

Hit show more options. Brand safety and suitability sits near the bottom, it’s new, and two pieces of it need your attention.

Content type exclusions. In there you’ll find Facebook in-stream reels ads. That’s the new placement burning through everybody’s budget. I don’t know how often you watch video on Facebook, but those ads feel like they only ever get clicked by mistake, because they block the video you’re trying to watch. They’re like pop-ups in mobile games.

It’s a horrible placement and I hate that it’s on by default. Check the box and you’re rid of it. Then check everything else down there they let you check, because that’s the stuff that broke things.

Audience Network and content ads. Same option sits in both, and this is the one that made me angry.

The default reads that your ads will show on all content that adheres to their content monetization policy, so you get the most out of your reach, and that this filter is applied automatically unless you change it.

Sounds like nothing. Now click see examples.

What “all content” actually means

Tragedy or conflict. Debated social issues. Objectionable activity, which they define as substance use, abuse and crimes. Sexual or suggestive material. Strong language. Explicit content. Political posts.

That’s where your book ad is running, by default, today.

And if you write dark romance, or even a cozy mystery where somebody gets murdered, guess where Meta has decided your ads belong?

Do we want our books touching this? No. Obviously not.

So I’m going through every account I manage and manually switching this to limited inventory. You can’t turn it off fully. That tells you something on its own.

Why I think they did it

This is my read rather than anything Meta has said publicly.

I think they wanted to monetize more inventory. Somebody looked at upsetting political stories and conflict coverage and abortion and gun control, saw all that engagement, and decided ads should go there because that’s where the activity is.

And sure, those posts get engagement. But that’s not the engagement you want, and it is definitely not the engagement that sells a book.

Picture somebody trying to get news about a school shooting, and your novel popping up over the video, and they click it by accident while trying to make it go away. That’s the click you just paid for.

I really hope Meta adds this control at the advertising settings level so we can switch it off once and be done. Until then I’m going into every single ad set on every single account and toggling this crap off by hand.

Do this today

Flip your destination off Messenger and back to website. Go manual on placements, Facebook feed and Instagram reels only, and uncheck the spending box underneath. Then open brand safety, exclude Facebook in-stream reels, and set Audience Network to limited inventory.

Then leave it alone for three days, because you just changed a bunch of things and the learning period doesn’t care that you had a good reason.

And if your numbers still look terrible after that, check whether Amazon has caught up on its reporting before you touch anything else.

So that’s the placement fix. Three settings, one afternoon, and it’s the difference between your book showing up beside a tragedy and showing up in a feed.

I hope this wasn’t too alarmist. It is a big deal though, and I’d rather over-alarm you than let it sit there burning your budget for a month.

Did you catch this one before I did? Are you seeing the same drop? Tell me in the comments, because I want to know how widespread it is. Hope this helped!

When I trust Facebook with my time, money, and dreams, I expect it to deliver.

I want results today. Not in three days, not in ten. Today, on the dashboard sitting in another tab right now, because I set new ads live this morning and I would like to know.

That isn’t a professional failing I’m confessing to. It’s how my hyperactive AuDHD brain runs. I like to act fast, and I really believe patience is a crime.

But Meta doesn’t care about me and my feelings.

The learning period is not a suggestion

It takes three days minimum before an ad tells you enough for you to do the next right thing for your campaign. And that number moves up to ten with smaller budgets, ack.

I love to tweak and push buttons, and that can be detrimental, especially with direct sales ads, because they’re a higher value conversion and need more time to learn. Just getting somebody to click on the thing is not as valuable as getting somebody to take out their credit card and pay for something.

All this to say, yes, Meta actually does need that time to find enough of the right people, so that it can go out and find even more, reliably, the way its algorithm is meant to run.

And that sucks. It’s so hard to wait and watch and wonder… and do nothing.

Hey, this is my money! This is my career!

But, seriously, trust me on this one. Every time you go in and adjust something, the clock starts over and you dig deeper into that same hole you’re desperately trying to climb out of.

You just have to let it go. If you set up good, diligent ads, you’ve passed the baton. It’s Meta’s turn to run this race and see if it can get you over the finish line.

The dashboard lies to you while you wait

Waiting would be survivable if the numbers sat still while you did it. They don’t. They actively mislead you during exactly the window you’re least equipped to handle it.

Sometimes it’s a reporting delay and the numbers simply haven’t arrived. Sometimes Meta just needs more information before it can find anybody. So what’s really happening on any given day? Who the heck knows? Not me. Not yet, at least.

So you sit there watching money leave with nothing coming back. And the only lever within reach is the one that wipes out every hour you’ve already waited.

What fighting it actually costs

Now, I could stop here and tell you to be patient. But that’s the most useless advice in marketing, and I’ve failed at it too many times myself to throw that at you now.

So here’s what fighting it has actually cost me.

Back when I was running prelaunch ads for my last Kickstarter, the one that funded the course I’m teaching right now, I had a purple ad creative I loved instinctually. Two days of early data made it look weak, so off it went.

Then I came back later and found the thing was my winner. Carrying both audiences, doing the job, while I looked somewhere else. My gut had been right the whole way, and I talked myself out of it using numbers that weren’t finished loading yet.

Why was the purple one off? I must have had a bad day, and I was looking at only the day’s data.

That’s the trap right there. I made a decision inside one time frame, then went back and judged it from a different one. Same ad. Different story. Nothing about the ad had changed except how long I’d let it do its thing without my direct interference.

A few weeks later on that same campaign, I turned off every ad that was performing, on purpose, to force some new videos out into the world. Then I didn’t give the videos enough time to optimize either, because I panicked and I wanted my one dollar leads back instead of five dollar leads.

So that’s twice. Two rule breaks, one campaign, and I teach this for a living.

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Which is exactly why I’m not going to lecture you about willpower. You’re not going to out-discipline this. At least I haven’t. What worked for me was finally understanding what kind of rule I was arguing with.

Some rules you can’t evade

There are two kinds of rules in this business.

Some of them are just conventions. Somebody’s best practice hardened into gospel, everybody started repeating it, and you can absolutely ignore it as long as you know why you’re ignoring it. Those are the fun ones. Break them all day, I certainly do.

The other kind is baked into how the machine physically works. Those aren’t advice. Those are a weather forecast. You can argue with the forecast all you want and you’re still getting rained on.

I say this constantly about targeting. Overriding what Meta is built to do is not a recipe for success, and even if you get a temporary win, it’s not going to last. You can’t force the machine to find your reader by narrowing the audience anymore. That’s not how it works now, and fighting it loses you money slowly enough that you don’t even notice it happening.

The learning period is that exact same law, just pointed at time instead of at people. Nobody sat in a room and picked three days to annoy you. It’s how long the system needs to gather enough signal to be useful, and no amount of me being annoyed about it moves that number even slightly.

So the skill isn’t patience. Which is a relief, because I don’t have any and I’m not growing some at this stage of my life.

The skill is telling the two kinds apart. And then, this is the hard part, refusing to spend one more minute of your energy on the second kind.

Which frees up a truly startling amount of energy for the first kind, I guess is my point. Most of what gets called ad strategy is people arguing with the weather.

The one move that isn’t evasion

Now, there is one exception to all of this. And I know it’s going to look like the exact opposite of everything I just told you.

When a campaign has actually stalled, and I mean a slide that holds for days rather than one bad afternoon, you turn everything off for 48 hours on purpose.

I did this in May, on the live campaign for that same Kickstarter. On camera, in the middle of it, while my students watched me do it.

^ Me deciding to do the thing I least wanted to do, while the campaign was live. May 2026.

The campaign had steadily been adding about $1,000 per day in funding and then it started to dip down to a scary $400 per day. This whole anxiety-inducing catastrophe created a really good personal growth moment for me. It forced me to do something even harder than waiting. It forced a hard reset. Yup, I turned off all my ads.

Stressful doesn’t really cover it. The campaign had another 26 days to run, and I chose to strengthen my base rather than continue to lose money and slow slide toward the end.

Originally, I planned to do it for 48 hours, but then I got busy, distracted, and hyper about other things, so I actually came back after 72 hours instead. And, hey, that matches my three-day “no touch” rule, so I went with it. I love rigid symmetry.

Did it work? Turning off the ads actually didn’t hurt. It gave both me and the machine time to rest and recalibrate. When I returned, I’d done all my fancy data breakdowns and built a whole host of new creatives to match two new target personas, and that was exactly what woke the campaign back up and ultimately led it to cross $50k in funding!

So what makes that different from fidgeting? Both of them restart the clock, after all.

A reset restarts it on purpose, and spends the wait building the thing you’re going to come back with. A fidget restarts it by accident, because a number made you feel bad at nine in the morning.

Same rule either way. Only one of them is being respected.

That was May, and I’m doing it again this week

I’d love to tell you I wrote this because I finally have it beaten.

The truth is I’m in the middle of it again right now. This time it’s the prelaunch ads for my next Kickstarter. The one I’m going to ask you to follow at the bottom of this post.

Over this past weekend Meta rolled out a batch of new features at the ad set level, including new placements. Some of my ads entered the auction right as that landed, and it broke them. My copy didn’t change. My creative didn’t change. The floor moved underneath a leads campaign that was already struggling.

There’s one fix for that, and you already know what it is. Turn it off, let the account recalibrate, come back with something new.

I hate it. It’s also necessary. Both of those are true at the same time, and neither one cancels the other out.

That’s the whole reason this rule needs a name and a number. If I left it to how I feel about it, I would never once choose the wait.

And here’s the part I’ve only recently worked out about myself. The more a thing matters to me, the more likely I am to mess it up.

The small campaigns? I can leave those alone for a week without blinking. It’s the ones with my name and my next year riding on them where I cannot keep my hands still.

Because stagnation feels like death to me. Literal death. Sitting still while something I built loses ground registers somewhere very old in my brain as danger, and danger means move, now, do something.

Which is a truly terrible instinct to bring to an auction that pays you for holding still.

Maybe you’re the same way. If you are, then the rule isn’t there to make you patient. It’s there to stand in for the judgment you don’t have access to at nine in the morning on day two.

Where the impulse actually belongs

Here’s my favorite ADHD life hack, and it looks like the exact contradiction of everything above. If you have the thought, do the action immediately, before you can forget or procrastinate.

I live by that. It’s how anything gets done around here.

The trick was never turning myself into a patient person. That isn’t happening for me and it’s probably not happening for you either. The trick is knowing which room you’re standing in. Ads are the one place where that beautiful, useful impulse is wrong. Everywhere else? Go. Right now. Before it evaporates.

And if your hands need something to do while the clock runs, go build the next creative. Same impulse, pointed somewhere it can’t hurt you.

So what do you do instead of touching it

Give it at least three days before you read anything into it at all. And as many as ten if your budget is small or you’re selling direct.

When you do want to change something, add instead of adjusting. Adding a new creative feeds the account. Editing a running ad restarts it. That distinction is worth more to you than any targeting tip I could give you.

Go slowly on the adding, too. Once or twice a week beats a deluge, because the account doesn’t like being flooded any more than it likes being starved.

And look, you’re going to check the dashboard nine times a day anyway. I do. So at least pick one time frame and stay inside it. Half my worst decisions came from comparing today against a week and letting whichever number scared me more win the argument.

Don’t be hard on yourself for having a lack of clarity or being wishy-washy about a decision. You’ll make one at some point, and I’m not always a thousand percent confident either. Just because you’re going back and forth doesn’t mean you’re wrong, and it doesn’t mean you’re not an expert.

There’s always a way back. You can survive your mistakes. In fact, they are the absolute best way to learn so that you come back stronger (and smarter) the next time around.

So that’s the three-day “no touch” rule and the three-day hard reset. What do you think? Doable? Terrible? Ridiculous?

Come at me. I can take it, and I’ll be back with more ads advice next week. Ta!