Remote
Part-time
Genius PR

Content Lead

Location:
United Kingdom

The role

One person owns whether the content actually goes out.

Genius PR is an earned-media agency for crypto, Web3 and AI companies. Kim is the founder, the commercial engine and the public face, and he's on stage or at a conference most weeks. Over the next month alone that's Washington, New York, Seoul and Singapore.

The gear exists. The editors exist. A tool already writes eight scripts from live news every morning. The access exists, meaning interviews with founders and investors at the top of the AI and crypto markets. What doesn't exist is one person who owns the system and keeps it running while Kim is on a plane. That's this job.

This is not a social media manager role and it is not an editing role. It's closer to a producer or a chief of staff for content: you set the plan, you make other people deliver against it, you write in Kim's voice, and you report on what worked.

What you own, and what it costs in hours

Costed bottom-up rather than rounded off, so you can judge the load before you apply. This is a real 20-hour week, not a 20-hour week that's secretly 30.

What you own What that means in practice Hrs/wk
The clippers and short-form team They're in place already and they take briefs from you. You write the brief, review what comes back, reject what's wrong and get it fixed. Around 16 assets a week. This is a real management responsibility, not a hand-off, and it's the biggest single block of your time. 3.5
Writing on LinkedIn and X Three LinkedIn posts and two X threads a week, written in Kim's voice and sent to him for approval. These are opinion pieces about how media, funding and attention actually work, not reel captions. The hardest writing in the role, and the reason we screen so heavily on voice. 3.0
Choosing what gets shot An automated tool delivers eight teleprompter-ready scripts from live news each morning. You are not writing these from scratch. You're exercising judgment: which three we shoot today, in what order, which need rewriting in Kim's voice, which get killed. Editing and rejecting is most of the work. 2.5
Long-form YouTube Overseeing the editors who cut the 30 to 40 minute interviews. You brief the cut, review it, and own the packaging: title, thumbnail concept, description, chapters, playlist. Roughly two episodes a week. You direct this; you don't edit it. 2.0
The podcasts, as content Kim co-hosts the Onchain Capital Podcast and interviews founders and investors at conferences worldwide. Someone else books and records. Everything after the recording is yours: four to six vertical clips per episode, the promo cutdowns, the behind-the-scenes vlog. Today episodes get recorded and don't become anything. That stops with you. 2.0
Publishing and scheduling Across LinkedIn, Instagram, YouTube and X. Reliably, including the days Kim is unreachable. 2.0
The shoot calendar Nothing gets filmed without a date and an approved script in your document. You chase Kim for the shoot, not the other way round. The calendar is never empty two weeks out. 2.0
The content plan Every channel and format. What goes where, at what cadence, in what mix. You decide what we test next quarter and defend it with numbers. Includes one weekly planning session with Kim and the podcast and events leads. 1.5
The performance sheet Every post, its hook type, views at 24 hours and 7 days. A/B tests run properly: two hooks, one variable, logged. Monthly read on what's working, delivered in fifteen minutes, not a deck. 1.5
TOTAL 4 hours a day, 5 days a week 20

The weeks are uneven. Here's the deal.

A normal week is the table above. A conference week is closer to 30 hours of available work, and the contract is still 20. Kim is at four conferences between mid-September and early October: Washington, New York, Seoul, Singapore.

We're not going to pretend that squares. So rather than you guessing, or quietly working 30 hours for 20 hours of pay, there's a standing priority order. When the week overflows, you work down this list and stop at 20 hours. You don't ask permission and you don't apologise.

# Never drops Why
1 Same-day reaction content from wherever Kim is It's the entire reason he's in that room. A reaction posted on Thursday about Tuesday is worthless.
2 Publishing what's already made The pipeline is full. Finished work sitting unpublished is the worst outcome available.
3 Clipper review You're the bottleneck for everyone downstream. Blocking four editors to save yourself an hour is a bad trade.
# Drops, in this order What that looks like
4 Content plan work Defer to the following week. Nothing breaks.
5 The performance sheet Batch it. Log 24-hour numbers late rather than not at all.
6 Long-form YouTube Slips a week. Interviews are evergreen; they don't expire the way news does.
7 LinkedIn and X writing Down to one post, not three. Last thing to go, because it's how Kim's actual buyers find him.

Why we're telling you this in the job ad. Most part-time content roles are a 20-hour contract with a 35-hour job inside it, and the person either burns out or silently drops the important things. We'd rather hand you the priority order on day one and hold you to 20 hours. If you're routinely over, that's our planning failure to fix, not your overtime to absorb.

The shape of the day

It isn't a single block, and that matters more than the total.

When What Why it can't move
Early morning Script triage. Read the eight, pick three, edit, kill the rest. Tied to the news cycle. A reaction posted in the afternoon isn't a reaction.
Midday Clipper review, publishing, scheduling. Editors need the brief early enough to turn it round same-day.
Rolling Writing, YouTube packaging, catching Kim between meetings. He's in a different timezone most weeks.

You need to be reachable across a split day rather than heads-down for four straight hours. Overlap with Kim's morning matters more than which country you're in.

What you don't own

Stated plainly so there's no ambiguity later. These aren't limits on your judgment. They're the things that sit with someone else, so you're never blocked waiting for permission on everything else.

Not yours Whose it is
Brand positioning — what Kim thinks, what Genius PR stands for, who we're for Kim. You own how it gets said, packaged and distributed. He owns what it is.
Editing video, short-form or long The clippers and the long-form editors. You brief, review and reject. You don't open the timeline.
The podcast as a show — format, guest strategy, production Our podcast lead. You own what happens to an episode; he owns the episode.
Booking podcast guests Our events lead. You receive the booking and take it from there.
Any client work at all The agency. This role is Kim's own channels only, and that boundary is absolute.
Journalist contact The PR team. Our media relationships are the agency's most valuable asset.
Sending as Kim Kim. You draft posts, DMs, comments and replies. He approves and sends.

Who you work with

Stage Owner Hands to you
Guest booked, date confirmed Events lead Name, date, location and a one-line angle, same day
Interview recorded Podcast lead Raw files and transcript, within 48 hours
Short-form cuts to your brief Clippers Cuts, to your spec, revised until right
Long-form cuts to your brief YouTube editors The episode edit, to your spec
Everything downstream You Briefs, packaging, writing, publishing, performance

How this works in practice: you set the content plan and the calendar. The podcast and events leads deliver into it. They don't report to you and you don't manage them. You're accountable for the plan existing, being realistic, and being met. Where it isn't met, you escalate to Kim rather than negotiating it yourself.

Reporting line: Kim directly for the first 90 days, then our Head of Growth. That's deliberate. The first three months are about calibrating to his voice, and that only works with a direct loop.

What you'll be given

You're inheriting a running system, not a blank page.

  • A daily script generator: Pulls live AI, crypto and funding news every morning, filters it, and writes eight teleprompter-ready scripts with two hooks each, delivered as a PDF. Runs on a schedule, unattended.
  • Competitor research on demand: Scrapes and scores the reels of thirteen tracked accounts and pulls out the hook patterns and formats that are working.
  • A voice pack: published posts, approved scripts, rejected drafts with the reason each was killed, and the house style rules. Plus a weekly voice review with Kim through your first month, so you're calibrating against feedback rather than guessing.
  • Editors and clippers already in place: short-form and long-form, who take briefs from you.
  • A 30-day content strategy covering channel priorities, the funnel and the format mix, so you're executing a plan rather than inventing one in week one.
What this means for the role: the grinding part — watching the news, drafting from scratch, hunting story ideas — is largely automated. We're not hiring for typing speed. We're hiring for judgment about what's worth shooting, taste about what's worth publishing, and the organisational spine to make it happen while Kim is in another timezone.

What we're looking for

Essential

  • You've run a publishing calendar for someone else — a founder, a creator, a podcast — and can tell us what shipped and how often. Volume, not reach: volume is the part you controlled.
  • You have personally directed editors. Given a brief, rejected a cut, got it fixed, kept the relationship intact. That's five and a half hours of your week here across short and long form.
  • You can write in someone else's voice, and more importantly you can tell when a draft isn't in it. Three hours a week is original writing published under Kim's name; much of the rest is editing and rejecting AI drafts. If you can't spot the difference between a post that sounds like Kim and one that sounds like a machine, this won't work.
  • You read the news daily and can tell a big story from a small one.
  • You have a view on channel strategy and can argue it with evidence rather than preference.
  • Comfortable with B2B, finance and AI subject matter. You don't need to be an expert. You need to not be scared of it.
  • Available across a split day, with overlap on Kim's mornings.
  • You can hold a line on scope. The priority order in section 3 only works if you actually use it.

Useful

  • Experience with a founder-led YouTube channel, including titles and thumbnails
  • You've worked with someone in another timezone who travels constantly
  • Familiarity with crypto or AI as subject matter

This isn't the right role for you if

  • Your instinct on reading "content" is a content-pillar deck and a Canva template
  • You want to be the creative voice rather than serve one
  • You need daily calls to make progress
  • You've only ever worked inside an agency pod, contributing to other people's calendars
  • You need predictable, identical weeks

How this runs

Stage Detail
Trial Two stages. A 90-minute unpaid task for everyone past the application, then a paid five-day trial at $400 for the final one or two. Details in section 9.
Initial contract Three months. 4 hours a day, 5 days a week, roughly 87 hours a month.
Compensation $1,500 a month, rising to $1,800–2,000 on the 90-day targets.
Bonus Quarterly, tied to qualified inbound generated. Never to view counts — see below.
Location 100% remote. We're UK and UAE-centred and Kim travels constantly, so meaningful overlap with 09:00–17:00 GMT or GST is needed, and you need to be reachable on WhatsApp.
Status Freelance contractor. You invoice us; you handle your own tax and equipment.

On the bonus, since it's unusual: we deliberately don't pay on views. Kim sells credibility to institutional clients and gets quoted in the financial press. Paying for reach would pay someone to push him toward things that get attention and cost trust. The bonus is tied to qualified inbound: people who arrive asking to work with us.

The trial

Two stages. The first is short and unpaid, the second is longer and paid. We’ve split it that way so nobody does a day of free work on the strength of a job ad.

Stage one — the task (90 minutes, unpaid)

Everyone who gets past the application does this. It’s deliberately built from the four things that actually predict whether someone can do this job, and deliberately kept to an evening’s work.

You’ll get the voice pack first (below), plus a real morning’s output from the script generator.

1. Triage (~30 min)

Eight scripts from the news generator. Pick the three you’d shoot, ranked, one line each on why. Kill the other five, one line each on why not.

Testing: judgment, and whether you can say no. Most people can pick three. Fewer can explain a kill.

2. Voice (~20 min)

Take one of your three and rewrite it in Kim’s voice, working from the voice pack.

Testing: your first attempt at the voice. It isn’t expected to land. Nobody’s does.

3. The correction (~20 min)

We’ll give you a draft Kim rejected, along with the one-line reason he killed it. Fix it.

Testing: the most important thing in the whole process. Writing in someone else’s voice is learned by correction, not by talent. How fast you move when you’re told what’s wrong predicts your first ninety days better than your first draft ever will.

4. Range (~20 min)

Three alternate hooks for one of your three scripts. Genuinely different angles, not the same line reworded.

Testing: whether you have one idea or a supply of them.

Nothing you produce in stage one gets used. The scripts are from an old run and the rejected draft is already dead. This is a test, not free work, and we've built it so that's actually true rather than just claimed.

Stage two — the paid trial ($400, five days, ~12 hours)

Final one or two candidates only. Paid on delivery whatever happens, and the work is yours if we don't proceed. This is real work on real material, which is exactly why it's paid.

Day 1–2 — Directing an editor (~4 hrs)

A real 35-minute interview and its transcript.

  • Brief a 60-second vertical cut: exact in and out timecodes, hook frame, on-screen text, music direction, caption
  • Brief the long-form YouTube cut: what to keep, what to lose, plus title, thumbnail concept, description and chapters
  • Then we send back a cut that isn't good enough. Write the note you'd send the editor
Why: directing editors is five and a half hours of the real week. The rejection note is the part that matters. We're watching whether you can be specific and direct without being unpleasant, because you'll do it weekly with people who don't report to you.

Writing as Kim (~3 hrs)

  • One LinkedIn post, 900 to 1,300 characters, from the interview
  • One X thread, same idea, rebuilt for that platform rather than pasted
  • Then rewrite your stage-one script against the feedback we send you. Both versions, plus a line on what you changed and why.

Why: the rewrite is the one that decides it. A second draft that's close beats a first draft that was decent and didn't move.

Planning against chaos (~4 hrs)

  • A 30-day shoot calendar mapped to real travel: Washington, New York, Seoul, Singapore. Every slot has a date, a format, a script owner and a publish date. Show the days Kim isn't filming and say what goes out instead.
  • Then: pick the heaviest week and cut it to 20 hours. What you'd drop, in what order, and what you'd protect no matter what.
Why: anyone can build a calendar. We want to see what you do when it doesn't fit, because here it won't.

Day 5 — The read

One page, no deck: what you'd change, the first thing you'd test and what result would tell you you were right, what you need from Kim and how often, and three questions you want answered before you'd start.

Why: the questions are the tell. What someone asks before starting predicts their first ninety days better than anything they claim they've done.

What you get before you start

The voice pack Why it's in there
15 of Kim's published LinkedIn posts and 8 approved scripts What he sounds like when he's happy with it
5 drafts he rejected, each with his one-line reason The rejections teach faster than the approvals. This is the most useful thing in the pack.
His own note on what he'd never say, words he hates, and how he opens The things that aren't visible from the published work
The house style rules The hard constraints. No em dashes, no AI vocabulary, no "it's not X it's Y".
On writing in someone else's voice from a standing start. Nobody nails it first time and we don't expect you to. What matters is how fast you close the gap when you're corrected, because that's the real job: draft, get told it's wrong, adjust, get closer. Both stages are built around that, and it's what we're grading.

How we'll judge it

How we'll judge it

Weight What we're actually looking at
Highest Stage one task 3, and the rewrite on day 3: how far you move when corrected. Plus whether your rejection note is specific enough for an editor to act on.
High How many of your three Kim would actually shoot. Whether the LinkedIn post could be published as-is. Whether your cut list matches what we'd have cut.
Medium Whether the calendar survives contact with real travel. Whether the day-5 read tells us something we didn't know.
Also counted How many times you had to ask us a question. Fewer is better. And whether you finished inside the hours.

Your first 30 days

Week What Output
1 Work through the voice pack and everything Kim has published. Set up the performance sheet, the script approval queue and your own voice-notes file. Take LinkedIn over from Kim's PA. Meet the clippers and the long-form editors. Sheet live, queue live, handovers done
2 Build the 30-day calendar against real travel. First LinkedIn posts and X threads out. Meet the podcast and events leads, agree the handover points in section 5. Calendar approved, interface agreed
3 First full week running: two shoots, daily publishing, both editing teams briefed and reviewed by you, first long-form episode packaged and shipped. 8+ pieces live, 1 episode published
4 First performance read: what worked, what didn't, what to test next. Fifteen minutes, no deck. Written read, two tests proposed

Running through all four weeks: the voice review. Kim marks up three of your drafts a week with blunt feedback, and you keep a voice-notes file that grows each time. By week four the number of drafts coming back should be visibly falling. This is the mechanism that gets him out of your work, so it's the thing to protect when the week gets busy.

The 90-day targets

These are the terms of the review, and the raise is attached to them. All four need to be true.

# Target
1 12+ pieces published in month one, and the calendar has never been empty two weeks out.
2 Three shoots a month happening without Kim initiating them.
3 One hook format identified as clearly outperforming, with the data to prove it. This is the judgment half of the role.
4 Kim spending under 3 hours a week on content that isn't filming.

Boundaries, stated on day one

We're a PR agency with nineteen active clients, several of whom compete with each other. A few rules are absolute and they're easier to say now than to enforce later.

  • No client work, ever. Not "not for now". This role is Kim's own channels only. It's the most common way a role like this fails: it starts with one favour during a busy week and ends with the content stopping.
  • No contact with journalists. Those relationships are the agency's most valuable asset and they aren't ours to spend.
  • Never post or send as Kim. Draft anything; send nothing.
  • No client or client spokesperson gets named in Kim's content without clearing it first. There are rules about who can be quoted on what, and they exist for good reasons.
  • Anything that publishes gets checked before it goes. We run a four-point check on everything outbound and it applies here too.

How to apply

Answer these five. Applications without answers to all five won't be read. Short and specific beats long and polished.

  • Whose content have you run? Name them, say for how long, and tell us how many posts a month actually went out.
  • Send a link to something you wrote that someone else published under their own name.
  • Tell us about a time you rejected an editor's work. What was wrong with it, and what did you say to them?
  • Here's a news story from this week: [story]. Write a 30-second script hook off it. Three or four lines is enough.
  • You have 20 hours this week and 30 hours of work. What gets dropped?
What we're really testing: questions two, four and five. Writing convincingly in someone else's voice is the skill this job lives or dies on. And question five has no wrong answer except "I'd work the extra ten hours."

Genius PR · role brief · September 2026. Genius PR is an earned-media agency for crypto, Web3 and AI companies: tier-one placements, newsjacking and category authority. AKT Ventures LTD is the legal entity.

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