I recently did a podcast interview with Amber from A Bright Idea and somehow ended up telling alllllll my business.
We talked about being eight years old, watching Boomerang, and deciding then and there that I wanted to become a creative director.
We talked about what happened when I actually got the dream and realized success can look beautiful from the outside while quietly destroying you behind the scenes.
I shared the story of the toxic job that pushed me into panic attacks during a cancer scare, the confusing pain of building a stationery company in public, and what it has cost me to become my most authentic self.
It’s honest. A little tender. And probably one of the clearest windows into how I became this version of me.
Here’s an edited transcript of the full video.
A Bright Idea Podcast — Justin Shiels Interview
Amber: Justin from SoCurious Greeting Cards, how are you today?
Justin: I’m so good. How are you doing, Amber?
Amber: I’m doing well. I’ve been really looking forward to this interview since I saw you on Instagram a while ago. When you and I talked before this call, I realized we have so much in common. We’re both artists, we both worked in advertising, you’re an entrepreneur, and you left corporate America. There are so many layers to your story, and I’m excited to get into it. Most importantly, I’m excited for my listeners to hear your story too.
Justin: I’m excited about this as well. Let’s do it.
Amber: Before we get started, I like to do a little rapid fire to help people get to know you. Do you want to play with me?
Justin: Yeah, let’s do it.
Amber: What’s one word to describe your brand?
Justin: Joyful.
Amber: I love that. What’s a small moment recently that brought you joy?
Justin: I just did Neurodiversion Expo this past weekend. I did a popup, and I was also able to give a presentation at the conference. That experience lit my soul on fire. I got to connect with the local community, and because I have ADHD, I also got to connect directly with a subcommunity that I’m part of. It was the perfect experience for me—10 out of 10.
Amber: That’s awesome. Was that part of your business, or were you speaking about ADHD in another capacity?
Justin: It was part of my business. I was on the planning committee for the Neurodiversion Conference this year, which I was really happy about. The goal is to bring together people with ADHD, autism, dyslexia, and other forms of neurodivergence so they can connect with like-minded people, hear speakers, and take part in all these great activities.
This year, for the first time, we also did the Neurodiversion Expo, which was open to the full public, not just conference attendees. My company, SoCurious, did a Joy Is the Revolution popup there, which was super fun. We had incredible music playing, and people got to hand-color some of the artwork I created. It was a free experience, and I was also vending art prints, postcards, and my book, The Reset Workbook.
Then on Sunday, I spoke at the conference and shared a new presentation called The Joy Reset, which helps people build their own joy reset curriculum. It really felt like I got to be all of me in one experience.
Amber: I think you’re the perfect guest for this show because as an artist and someone with a greeting card business, what you’re describing goes far beyond just greeting cards. You’re creating expos, analog experiences, and expanding what it means to have a brand. That’s super cool.
My next question kind of connects to that: analog or digital, and why?
Justin: That’s tough. So much of my brand is about getting people off computer screens and back into a more analog life, but I’m genuinely a digital person too. So I have to cheat and say both.
Amber: Good answer. Next question: what’s a belief you had about success that you no longer agree with?
Justin: One limiting belief I had to let go of was the idea that people who are exceptionally wealthy must have done bad things to get there. I see myself as a good person, and I believe I’ll continue to have more and more success. So I had to evaluate that false belief and rewrite it for myself.
Amber: That’s a good one. How did you overcome that?
Justin: I’ll be honest—I hadn’t seen many examples of high-integrity, kind human beings who were also very successful. But eventually I saw enough examples to know it’s possible. I’ve heard enough of those stories to understand that sometimes that kind of success comes more slowly, or later in life, but it is absolutely possible to live within your morals and ethics and still achieve meaningful success.
Amber: I love that. We may not have a lot of examples, but why can’t we become the example? I also think there are people who are both good and abundant—we just don’t always know about them because they’re not loud. The loud wealthy people tend to dominate the narrative.
Okay, last rapid-fire question: if your brand had a theme song, what would it be?
Justin: That’s a funny one. I used to be in a band after college called Victoriable. We put out one EP and did a few performances around New Orleans. I’ve secretly been working on a Joy Is the Revolution anthem. It’s not good enough yet, so I’m not ready to share it, but the theme song will probably be one I create myself.
Amber: I love that. Multifaceted. And as someone who’s also neurodivergent, I feel like there are always so many layers and interests. I love that you’re pouring into all of them.
Let’s get into your background. When we talked earlier, one thing I loved was that you’re an artist who became a creative director. That role is much more about managing people, making decisions, and shaping campaigns than actually making the art itself. So I want to go back to the beginning. Do you remember your first introduction to art?
Justin: Absolutely. I started drawing because of my older sister, Nisha. In church, we would draw little fashion illustrations together, and that was one of our earliest connection points. I remember being three or four years old and drawing with her. From there, I just kept being this little creative person.
I always loved visual art, but in seventh grade I got a computer. It’s funny to say that now because I grew up not having one—I remember typing things on a typewriter as a kid. Then we got a computer, and I got Adobe Photoshop at a very young age. I was doing graphic design before I even knew what graphic design was. I loved making campaign posters for people’s elections. I had my own little newsletter called Iconoclassic. Sometimes I’d print little comics or small papers for school.
I’ve basically been the same person from the beginning. I knew really early what I loved making as an artist and creative person.
Amber: Were you self-taught in Photoshop?
Justin: Yeah, 100 percent self-taught. I’m sure I followed tutorials, and one of my mentors got me a Photoshop for Dummies book, which helped. But mostly it was just me in my bedroom reading articles online and figuring things out.
Amber: I love that. I went to an art school from sixth through twelfth grade and studied visual art. We had digital media classes, and that’s where we learned Photoshop. It actually wasn’t my strongest suit. I was much better at tactile things like ceramics and sculpture. I always envied the kids who could build layered Photoshop compositions. So it’s fascinating that you taught yourself that at a time when Photoshop still felt niche.
Did you always want to be an artist?
Justin: That’s a tricky question. I actually always wanted to be a creative director in advertising. I made that decision when I was around eight years old.
Amber: Wait—I need that story. I only found out what a creative director was like five years ago. How did you know that at eight?
Justin: It’s interesting how when you’re a little kid, you often know who you are at your core. Then life happens and can throw you off path or lead you in different directions. But when I was eight, I saw the movie Boomerang with Eddie Murphy. He was playing a creative director at an all-Black ad agency, and I immediately thought, “One, I’m going to work in advertising. Two, I’m going to be a creative director.”
I literally built my life around that goal. I imagined living in a high-rise apartment and helping make commercials that would go on television. I did take some strange detours along the way, but I still became a creative director by the time I was 30, which was exactly what eight-year-old me wanted.
Amber: Would eight-year-old you be proud?
Justin: I think so. But as you get older, you wrestle with what it means to actually get what you wanted. A lot of millennials are dealing with that. You set a goal when you’re young, and then you achieve it, and it comes with beautiful opportunities but also all these unexpected challenges.
As you mentioned, as a creative director you’re not doing creative work most of the time. You’re mentoring your team, selling ideas to clients, and sometimes leading video and photo shoots. So yes, there were moments where I got to fully lean into my creativity, but there were also awkward, terrible meetings, spreadsheets, department budgets, hiring and firing decisions—things I never imagined would be part of the job.
The gift, though, was that at the agencies where I worked, especially smaller agencies, I had a lot of flexibility and freedom. I got to learn the business side too. I was exposed to things like running a P&L, and that knowledge helped prepare me to eventually start my own business.
Amber: I think a lot of people can relate to that. Corporate work can be challenging, but you also learn on someone else’s dime. You get to make mistakes, build skill sets, and gain experience you wouldn’t have if you went straight into entrepreneurship.
When did you start to feel out of alignment? When did it turn toxic for you?
Justin: For me, I always felt like there were two sides to my personality. One side was focused on taking care of my household and building a financially sustainable life. My job gave me stability. But in the margins of my life, I was always doing creative experiments and projects that lit my soul on fire.
My path has been really meandering. I started as a graphic designer in advertising, then left to get my master’s in arts administration because I wanted to start an art gallery. During my first internship at a gallery, I realized, “Oh wait, this is not the job for me.” Running an art gallery was mostly about wooing very wealthy people into buying art. It was sales.
And at that point I thought, if running an art gallery is sales and I’m good at sales, I should just go back into advertising and become a creative director like I originally wanted. So even after taking these detours, I ended up back at the beginning.
While I was getting my master’s degree, I really invested in learning sales and marketing. Instead of getting a job right away afterward, I started my own design studio and ran it for three years. It was an incredible experience. I learned how to work directly with clients and customers, and I also started leading a small team—web designers, illustrators, copywriters.
Then I went through a breakup, and all the most interesting stories start with a breakup. I realized I couldn’t keep running the business while navigating the emotional weight of that relationship ending. Around that same time, I ran into an old colleague from undergrad at a coffee shop. I told her I thought it was time to end my studio, and she said, “I think I know the job for you.” She was a creative director at a small social media agency in New Orleans, and she recommended me for the role. That’s how I became a creative director.
Amber: That’s so interesting. Breakups really do tend to change everything.
But once you got into that role, when did you realize, “I don’t think I can do this anymore”?
Justin: We’re going to fast forward a bit, because a lot happened.
I happily worked as a creative director in advertising for about five years. During that time, I saved money and thought, “I’m going to try again. I’m going to quit my full-time job and build a new life for myself.” I had just gotten a book deal with Spruce Books, a subsidiary of Penguin Random House, to republish my self-published title The Reset Workbook.
So while I was writing the book, I was also building my dream life. I launched SoCurious. I was working on the book. I started my first group coaching program. It was like a rough draft of the life I wanted.
Then in 2022, I went to a routine doctor’s appointment. My regular doctor was out, so I saw someone else. That doctor found an anomaly in my bloodwork and was concerned I might have cancer. That launched a two-year period of not knowing.
At first, I ignored it. I thought, “I’m stepping into the reality I want. I have this book deal. Nothing is going to throw me off.” But about six months later, I got more bloodwork done and was referred to an oncologist. That’s when I thought, “Okay, I need to take this seriously. I need a job.”
So I found what I thought was my dream job: another creative director role in advertising, but focused on social good. I was working on mental health, sexual wellness, and opioid prevention for teenagers—three areas that really interested me. I also had another chance to direct actual TV commercials, which had been a longtime dream.
On paper, it should have been perfect. But it turned out to be the most toxic workplace I’ve ever experienced.
What was wild is that the clients were wonderful. Many of my coworkers were kind, grounded people. But the top-down culture was deeply negative. Creativity wasn’t respected. People weren’t allowed to use their own judgment. It was unlike anywhere I had worked before.
And all of this was happening while I was in the middle of a cancer scare. I felt trapped because rent is always due on the first. I started having panic attacks. I had worked in the industry for nearly 15 years at that point and had never had a panic attack about work.
But in that environment, I’d go into reviews terrified that the work would get ripped apart or that someone on my team would cry and I’d need to console them. It was intense.
I remember being in Richmond, Virginia, for a shoot. It was my first time directing a commercial shoot, and I should have been excited. We were doing 13 commercial spots. But I was sitting in the hotel reviewing the shot list and suddenly felt like I couldn’t breathe. I thought I was having a heart attack, but it was actually my second panic attack.
The shoot ultimately went well, but for me that was the last straw. I said, “I refuse to have a third panic attack working here.”
And thankfully, one week later, my oncologist called and said, “You don’t have cancer. We know what’s going on, but it’s nothing to worry about.” That gave me permission to quit. It still took me another three months to leave, but eventually I did.
It was terrifying. I was burnt out. I was in fight-or-flight mode. I had lost confidence in myself. I didn’t trust myself anymore. But I knew that if I stayed any longer, it could have long-term effects on my health.
So I looked at my savings and thought, “I’ve got $25,000 in the bank. I’m going to quit, and I’m going to take six months to get back to myself.” My goal was not “start a business.” My goal was “take care of yourself so you can survive.”
Amber: Listening to you tell that story, I really appreciate how honestly you shared it. And it resonates with me deeply. My previous job before the one I have now was also in a very toxic creative environment. We were doing meaningful work, but behind the scenes people were undermining each other, sabotaging each other, chasing promotions, and creating chaos. Hearing your story made my heart race because I remember that feeling.
So when you left and decided not to jump straight into business, but instead reset your nervous system—that is so real. What did that first month look like?
Justin: I had three priorities.
First, I slept. I could not get enough sleep. It genuinely felt like I was only awake maybe eight hours a day, and the rest of the time I was sleeping. It felt like repair.
Second, when I was awake, I was deep-cleaning my house. That felt very important.
Third, I took long, meandering walks through my neighborhood and nearby parks and trails. I just wanted to be in the sun, move my body, and make sure my home felt clean and safe.
Amber: Earlier, you mentioned that when you were in that reset period, you also had fears that almost stopped you from taking the leap. What were those fears?
Justin: I think in many ways I believed that being an artist was not a legitimate way to make a full-time living. Some of that was cultural conditioning—the whole starving artist narrative.
Serving clients made sense to me as a career. Being paid to be yourself did not. That felt unrealistic.
But what’s profound is that I’ve essentially been forced to become my most authentic self through everything I’ve gone through. And as I’ve become more myself, I’ve learned how to share parts of myself publicly online. Through social media and storytelling, that authenticity has funded my life as a full-time working artist and writer.
It’s interesting because the way we’re taught to make money and the way culture is shifting now are not always aligned. But the accumulation of all my past experiences ended up giving me the exact skills I needed to do this.
Amber: Let’s talk about the moment that launched SoCurious in its current form. How did showing up as your authentic self online turn into a business?
Justin: I actually launched SoCurious in 2022 with my first product, Joy Bombs affirmation cards. They did relatively well—I sold about 1,000 of them over a few years, which I’m proud of.
But when I relaunched the business, it was deeply tied to the election results in November 2024. A lot of my healing had already happened, and I had started a social media campaign built around the idea that America deserves a woman president. Then the election results happened, and like many people, I felt confused and disappointed.
I had already been using the phrase “joy is the revolution,” but after the election, those words took on a new meaning. So I started emailing my list—something like 12 emails in 12 days—publicly processing what I was feeling while also encouraging other people.
The core message was: allow yourself to grieve, but also stay focused on your joy as much as possible, because we are in for years of chaos and confusion. From my perspective, the best way to navigate chaos is to stay rooted in joy.
Amber: That feels very experimental for a brand—in a good way. You were responding in real time to what you and the country were experiencing, and that became a mission. What kind of feedback did you get?
Justin: Fantastic feedback. People kept replying to the emails saying, “Thank you. Thank you for saying this. Thank you for sharing your philosophy around joy.”
I wrote a post called “10 Reasons Why Joy Is the Revolution,” which became one of my most popular social media posts. I also wrote essays tied to that period. As I clarified my own philosophy and shared it publicly, more and more people encouraged me to turn it into something bigger.
Some people told me I should turn it into a book. I thought that would take too long and felt too slow for the moment. But I did start thinking I wanted to throw an art show—even though I’d never done a solo show before.
I was talking to my friend Kamari in Austin, who founded Mama’s Kitchen Press, and she told me, “Justin, just throw the art show. Just do it.”
So in November, I decided I was going to do a show in December. I posted on Threads saying, “Hi, my name is Justin. I’m a visual artist in Austin, Texas, and I’d love to do my first solo show before the end of this year.” It was just a playful video of me smiling with some images of my artwork.
That post kind of went viral for me. Thousands of people liked it, hundreds shared it, and I got a few leads for spaces. Someone reached out, and I ended up doing the show at a coffee shop that hadn’t even opened yet.
I put together the first Joy Is the Revolution collection and the first real iteration of SoCurious art prints and greeting cards.
Publicly, the event was a success. People came. I was proud of the work. But personally, it was hell. It was one of the most confusing experiences of my life. I lost friendships over that event. It was painful.
The biggest lesson was that when you step into alignment, everything that is out of alignment starts to fall away. I think that happened in my career and in some of my personal relationships. Me stepping fully into purpose seemed to challenge some people in ways I did not expect at all.
I had people who weren’t just unsupportive—they actively tried to block what I was doing. I still don’t fully know why. But I learned a lot about boundaries. I learned that when your authenticity ruffles someone’s feathers, sometimes the best thing is to let that relationship fade.
That was painful, because some relationships feel worth fighting for. But some aren’t. It became a masterclass in believing in myself and continuing to fight for what I believe in no matter what’s happening around me.
Amber: Was that lonely?
Justin: In many ways, yes. Especially because some of the friendships I lost had been in my life a long time. But it was also clarifying, because the people who did show up for me showed up beautifully.
I think about my friend Valerie here in Austin. She stayed up with me late at night helping me get things done and helping me do them well. So yes, there was chaos and confusion, but there was also support and love. I think I just notice the painful part more because of our negativity bias.
Amber: I love that perspective. From the outside, people may see the business thriving and think everything is great, while behind the scenes your personal life is changing completely. We don’t talk enough about the skin you have to shed to become who you’re becoming.
That actually connects to your greeting cards. One of the things that drew me to your brand is that your cards don’t feel like Hallmark. They tap into the most human parts of life. How would you describe your cards to someone who only knows traditional greeting cards?
Justin: What matters to me is that my cards connect people to real human emotions. A lot of greeting card companies rely on traditional platitudes and expected illustration styles. What makes SoCurious different is that I’m making everything by hand. I’m writing it. I’m illustrating it. It all comes through my specific point of view.
My art style is hand-done, a little wobbly, intentionally imperfect. I do that because I want to show that it’s okay for us to be fully human and imperfect.
At a recent speaking engagement, someone asked me, “You talk so much about joy, but how do you respond to the idea that we’re in a toxic positivity era?” My answer is that I have been to hell and back in my personal life, and I still choose joy every day.
That’s part of what gives my philosophy depth. I’m not choosing joy because life has been easy. I’m choosing it despite what I’ve lived through. And I think that honesty shows up in the cards. People can feel real human personality in them, and I think that connects with people’s hearts and minds.
Amber: I think your products do that, but what also makes you stand out is the community aspect. You’re not just selling cards—you’re creating participatory experiences and bringing people together. Was that intentional?
Justin: Yes. When I was telling you about my reset period after leaving that toxic job, I left out one detail. Three things really helped me reconnect with joy: disco music, coloring books, and those long meandering walks.
As a kid, I loved riding around with my Aunt Shirley in Memphis while she listened to WDIA, which played a lot of music from the ’70s and ’80s. Disco has such a deep emotional meaning for me. It makes me incredibly happy.
So when I built my first Joy Is the Revolution popup, I knew I wanted people to interact with the art. I designed coloring pages inspired by the work on the walls so people could color in their own way. At that first show, people loved it.
After that difficult first experience, I knew I wanted to do a second one because I didn’t want the first show to be the end of the story. So I partnered with Future Front Texas here in Austin, which is an incredible organization run by Jane Hervey that supports women and LGBTQ+ communities through accessible arts programming.
That second Joy Is the Revolution was night and day from the first one. It was surrounded by love and support from friends and the local community. We raised funds from my email list to make it happen. There was disco music, people were coloring, my art was on the walls, and products were available for sale. But the real draw was the experience—people getting to be crafty together in a fun, inclusive environment.
It was beautiful watching all these different types of people interact and do what kids do so naturally, which is create.
Amber: It really sounds like one of those “if you build it, they will come” stories. The first one wasn’t what you hoped, but you kept going, and now you’ve built this community.
On A Bright Idea, we talk about story, but we also talk about business growth and strategy. So I want to ask about how you operate the business. What are your core revenue drivers today?
Justin: We make money in a few different ways.
The first is direct product sales online.
The second is popup events, where I’m vending, often with my friend Rosa, who helps with the business pretty frequently.
The third is Joy Is the Revolution popups, which are events I create myself. They’re harder to plan, but they tend to make more revenue.
Then outside of SoCurious, I also have personal revenue streams. I do coaching for entrepreneurs, especially creative entrepreneurs and entrepreneurs with ADHD. I get paid for speaking engagements. And I’m always thinking about new ways to connect with my audience.
SoCurious also has a Mail Club where people can subscribe monthly and get prototypes of things that may later come to the shop.
That diversification is very intentional. I want as many revenue streams as possible, as long as they don’t drive me crazy, because I don’t want to depend too heavily on any one thing.
Not all the revenue streams perform equally all the time, but my goal is for each one to make around $1,500 a month. If I can get each one to that point, then if one drops, I can lean into another. That’s how I create long-term sustainability.
Amber: That’s so important, and a lot of entrepreneurs don’t think that way. If someone wanted to start a creative business today, what would you tell them to focus on first?
Justin: Get one revenue stream up and running first. That’s the priority.
I think a lot of people get stuck in planning and plotting. But the truth is, you don’t know how a business works until it’s actually running. So I always tell people to make the first dollars as quickly as possible. That’s how you learn.
For example, in 2023 I launched the first version of my greeting card business with 12 traditional folded cards. We had some success, but I realized very quickly that if I wanted it to become a truly successful business, I needed a much wider range of products in the shop.
So I let that first collection run its course and sold what I could. Then when I revamped in 2025, I launched with many more cards. I think I had around 60 different SKUs. I tested them at art markets to see what people responded to, and I got data fast.
At one popup maybe I’d make $500, then $700, then $900, and maybe the next one only $400. But even then, I’d learn something—maybe that wasn’t the right market or the right audience.
Iteration gets much easier once you’re actually out there making sales.
So my number one advice is this: if you’re launching anything, your job is to get the first 10 customers as fast as possible. It doesn’t matter what your logo looks like. It doesn’t matter what your website looks like. Get 10 sales so you can understand what people actually want from you. Then the business can evolve from there.
That’s also how I got into throwing popups. Online sales were harder at first because people didn’t know I existed. But if I created events, people could interact with me directly, understand my mission, and then want to buy the thing. And that proved to be true.
Amber: That is such a clippable moment. How did you learn that? Was that from corporate? From creative direction? Or from your own trial and error?
Justin: A bit of both. I’ve read a lot of business books and listened to a lot of business podcasts over the years. But one of the most useful concepts from design is iteration.
You start with a V1. Then you improve it and create a V2, then a V3, and so on.
When I work with coaching clients, I’m often telling them, “You’re focused on version five or six, and right now we just need a minimum viable product—the first draft that people are willing to buy.”
It doesn’t have to be perfect. It doesn’t have to be glossy. It just has to exist so you can get the data.
I think people are often afraid to make a messy V1 because perfectionism gets in the way. But the answer is: no, do the V1 first.
Amber: I love that. I think decision paralysis is exactly what keeps so many people stuck. Focusing on version one and building from there is such an important strategy.
I also want to talk about social media, because that’s how I found you. One of the things that hooked me was your line about building a stationery company bigger than Hallmark. What does that actually look like in your vision?
Justin: That’s such a good question.
My catchphrase on social media is that I’m building a stationery company I believe will be bigger than Hallmark. And Hallmark is obviously the gold standard in the United States right now. That’s just true.
Ironically, right after undergrad, I did a portfolio review, and someone from Hallmark told me I’d be a perfect candidate for a new men’s collection they were starting. I went through several rounds of interviews but didn’t get the job. At the time, I was excited—but advertising was still the dream.
So it’s funny to come back around to this years later.
What I want to build through SoCurious is, first, a card collection that reflects as much of the lived experience of different kinds of human beings as possible. I’m starting with the parts of identity and experience I know personally, and then expanding from there.
For example, our first collection was Everyday Joy, which was tied to reconnecting with my inner child and my own joy.
The second was Take Care, which is for moments when someone is going through a hard time and you don’t know exactly what to say.
Then we did the Heritage Collection, focused on Black identity.
Coming soon is an LGBTQ collection.
I also created a Heart Eyes Collection, which is focused on non-romantic love—cards for the people in your life you deeply appreciate.
So the first part of the vision is creating more and more collections that represent real people and real identities.
The second part is inspired by something Hallmark also did really well, which is building a media ecosystem. Hallmark has the Hallmark Channel. We live in an increasingly digital world, so I see my TikTok platform as a way to communicate my philosophy around joy publicly—but I think that’s only the beginning.
I have my personal channels and the SoCurious brand channels, but I’m also developing additional shows for social media and YouTube that will let me continue sharing the brand in deeper ways, with the ultimate goal of selling products and growing the ecosystem.
Amber: That’s genius. I love that.
If someone receives one of your cards, what do you hope they feel?
Justin: The first thing I want them to feel is seen. That’s one of the most important goals of the cards.
I want them to feel specific enough that someone says, “I can’t believe this random person in Austin, Texas, is inside my head. How did they know?” To me, that’s one of the clearest signs that a card works.
The second thing I think about a lot is that my cards are intentionally flat greeting cards, not folded. One reason is that I want people to send cards more frequently, and the flat format allows me to sell them at a lower price point.
But another reason is that flat cards are easy to frame. So each one is not just a greeting card—it’s an art piece someone can keep in their home.
I’ve been really intentional about showing people that if you put a 4×6 card in an 8×10 frame, it becomes a beautiful piece of art for your wall. It doesn’t have to end up in a drawer collecting dust. It can become something you see every day—a reminder of the people who love you.
Amber: Oh my gosh, Justin, I’m so inspired by you. You’ve built a platform and a brand that responds to how greeting cards are changing, how the digital world is changing, and how people want to feel. It really feels like all of the trials and tribulations led you here.
Before I let you go, tell people how they can find you and support your business.
Justin: I’d love for you to visit socurious.co/social. That page has all of the most important links, and you can sign up for whatever feels most resonant for you.
One thing I’m especially excited about right now is our Joy Reset campaign relaunch. Through that challenge, I’m teaching people how to build their own joy reset curriculum. I think it’s useful both for entrepreneurs and for anyone who feels ready to reconnect with joy.
The world is heavy. I know how heavy it can feel. And I really believe that one of the only ways we get through this moment in our collective history is by building joyful practices that keep us healthy and whole while we move through the storm.
Amber: I love that. Justin, thank you so much for coming on A Bright Idea. I’ve loved sharing your story.
Justin: Thank you. This has been so much fun, Amber.
Amber: And everyone, follow Justin on all social platforms. I’ll link them in the description. Thanks, Justin.
Justin: Thank you.