Trova Horizon

We wrote the scripts in Baghdadi dialect, the way the audience actually talks, not in formal Arabic. Training and brand words stay in English, as the client asked, because that's how people in Iraqi gyms say them. Place names stay in Arabic.

Instead of one script we wrote eight, each with two opening hooks, so that any presenter, man or woman, could read any of them. Each makes a different case for the same trip: imagine training in Thailand; traveling with people isn't the same as traveling with a team; this isn't a fitness camp the way you picture one; you're tired of the same old trips.

One was written to turn the wrong people away: if you want a trip of sitting around, eating and taking photos, don't book. We wanted the messages that came in to be from people the camp fits.

Every script's opening line works on its own, because the first few seconds are all most people give a Reel. One script also got several visual openings, so we could learn whether the words or the picture did the stopping.

We shot the scripts with male and female presenters, in a gym, a studio and a set dressed up as Thailand. The voiceover was recorded in Iraqi Arabic, in more than one take, so the edit had choices.

Alongside the to-camera takes we filmed the training itself: machines, lifts, a bench press in close-up. Some versions open on a presenter talking, others open on action and bring the voice in after. Having both let the edit compare openings that differ in kind.

The edit gave us nine finished vertical videos for Reels, each well under a minute. Each one differs in substance: a different argument, a different presenter, or a different way into the first few seconds.

Most people start a Reel with the sound off, so the captions work as hard as the voice. They run a few words to a screen, with each word lighting up as it's said, and we rendered them as their own layer so Arabic with English words mixed in comes out right.

The Reels went out under Trova Horizon's own Facebook page and Instagram account, so every view and follow built the client's audience, not ours. Before anything went live we put the groundwork in order: who owns the ad account and its assets, the website's tracking, and the link between the page, Instagram and the ads.

We wrote the ad text in the same Iraqi voice as the videos, short enough that the first line works before the "more" button. It stays plain on purpose and sticks to the facts of the trip, because the hook lives in the video.

Every link to the website carries a tag naming the video it came from, so each lead on the sheet can be traced back to the exact Reel that brought them in.

Alongside the Reels we made a seven-slide carousel for Trova Horizon's Instagram. It opens on a line that sets the trip apart from a holiday: not every trip is sightseeing.

We built one Arabic page for one moment: a phone in the hand of someone who has just watched the Reel, usually inside Instagram's own browser. It picks up the ad's voice and hook instead of starting over.

The price shows up early and plainly. That's deliberate: it's the filter that spares one salesperson a stream of "how much?" messages from people the trip was never going to fit.

After the price comes proof, not promises: the named gyms, the program day by day, the hotels for each package, the food plan, and photos from Trova Horizon's previous trip. Nothing on the page claims what the client couldn't stand behind, so there are no invented reviews or figures.

A short form asks a few qualifying questions and lets the visitor pick a package. Then it opens WhatsApp with a message already written, so the conversation starts warm and the salesperson knows who they are talking to.

The page kept pace with the offer. When the client added a third package and extended the dates mid-campaign, the page, the form and the sheet were updated together.

Leads live in one Google Sheet. The person closing sales isn't technical, and a system nobody updates is worth nothing, so we picked the tool they already knew.

Every form is saved to the sheet before the visitor reaches WhatsApp, so no lead depends on a chat being kept. A second tab follows each person from first message to booking and records how fast they got their first reply, because on a purchase this size a quick answer matters.

The sheet also tells Meta which visitors turned into real leads, and later into real bookings. Only people the trip actually fits are counted, so the ads learn to find more people like them.

We also made the trip booklet: twelve pages in Arabic and English holding what a traveler asks before paying, from what is included and the program day by day to the packages, the two gyms, the hotels in Phuket and Krabi, the food plan and what to pack.

We made it while the trip was still ten days long, before the dates were extended, and it closes on the line that sums up the camp: "This isn't just a trip. It's your next challenge."

All nine videos ran together in one campaign that sends people to the website, aimed at a broad audience across Iraq. Instead of splitting a small budget nine ways, we let Meta's delivery lean into the videos people actually watched and clicked, which doubled as a reading of which openings work.

We kept changes to the live campaign rare. Every edit sends Meta back into its learning phase, and a small budget cannot afford many restarts.

Each lead from the website cost $0.69.

Most of the real work in a launch like this is fixing what breaks on the way, and the biggest thing that broke here was the kind you hope for.

The ads brought in so many people that WhatsApp restricted the sales number over the volume of messages.

We contacted WhatsApp support and gave them proof that the business and its messages were legitimate, and they lifted the restriction.

Nobody was lost while the number was down. Every lead is saved to the sheet before WhatsApp opens, so each person who wrote in was still there to answer once the number was back.