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Every ad the team makes is a test of one angle on one audience. That’s the strategy layer inside the Ideate phase, and it’s why Mad Kitty’s proposal cards always name an audience and a hypothesis — never just “make an ad.”

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The hierarchy

AUDIENCE            who you're talking to
   │
   ├── ANGLE        the argument you make to them
   │      │
   │      ├── CREATIVE     one execution of that argument
   │      └── CREATIVE     another execution (different format, hook, style)
   │
   └── ANGLE        a different argument to the same people
          └── CREATIVE
  • Audience — a group of people defined by who they are and what they already believe: their pains, desires, objections, and how aware they are of the problem and of you. Audiences are first-class entities in the product — Mad Kitty defines them with psychographics and awareness levels, and creatives attach to them.
  • Angle — the specific argument you make to that audience: the pain point you press, the promise you lead with, the objection you dismantle. One audience supports many angles, and an angle that converts one audience can fall flat with another.
  • Creative — a concrete execution of an angle: a static, a video, a carousel, each with its own hook and style. One angle usually deserves several executions, because format and hook can make or break the same argument.

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Why this structure matters

It makes tests interpretable. When a creative wins, you know what won: the angle, for that audience. That knowledge outlives the creative — when it fatigues, you produce fresh executions of a proven angle instead of starting from zero. It makes the portfolio a map. Your creatives fill a grid of audiences × angles. /review reads that map: which cells are proven, which are fatigued, which are empty and worth a proposal. Without the structure, a portfolio is just a pile of ads. It tells you where to iterate. A failed creative doesn’t kill an angle (try another execution); a failed angle across executions doesn’t kill an audience (try another argument). You always know which level to change.

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Awareness levels

Part of an audience’s definition is how much they already know — and it dictates which angles can work:
LevelThey know…Angles that work
UnawareNothing yetStory and pain discovery — name the problem
Problem-awareThe pain, not the solutionsAgitate the problem, introduce the solution category
Solution-awareSolutions exist, not yoursDifferentiation — why this approach
Product-awareYour product, undecidedProof, offers, objection handling
Most awareReady to buyThe deal — price, urgency, reminder
A “most aware” angle shown to a problem-aware audience reads as pushy; an education angle shown to a most-aware audience wastes money. Mad Kitty factors this in when proposing — and it’s the first thing to check when a good-looking creative underperforms.

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Working with audiences in practice

  • Start narrow. One or two audiences with two or three angles each beats ten audiences with one ad apiece — you learn faster with depth than breadth.
  • Challenge the audience, not just the ad. If a batch of creatives all underperform, the question for Mad Kitty is “is this the right audience — or the right awareness read?” before “can we make prettier ads?”
  • Let data promote angles. When an angle proves out, that’s the moment to fan it into more executions (Creo Kitty) and more spend (Buyer Kitty) — and to ask what the adjacent angle for the same audience would be.