0:02
Welcome to design for the creative mind, a podcast for interior designers and creative entrepreneurs to run their business with purpose, efficiency and passion. Because while every design is different, the process should remain the same. Prepare yourself for some good conversations with amazing guests, a dash of Jesus and a touch of the woowoo. And probably a swear word or two. If you're ready to stop trading your time for money, and enjoy your interior design business. You are in the right place. I'm your host, Michelle Lynn.
0:48
Hello, everybody. Welcome back to design for the creative mind Podcast. I'm here today with Josh Martin. He is the owner and head designer of stall timber here in the Dallas Fort Worth area. And I'm really excited to share his experience his background and how designers can benefit from custom furniture in their design. So Josh, welcome. Hello. Good to see ya. Oh,
1:17
Michelle. It's an absolute pleasure. Happy to be on design for the creative mind. I've listened. And I'm excited. Thank you for having me on. Oh,
1:26
I'm so excited to introduce the audience to you. And it's always nice to hear that it's not just my mom listening to the podcast. Thanks, Josh.
1:36
I gotta soak it up where it can. That's so
1:39
fun. So okay, so for those of y'all who may not have worked with custom furniture, and specifically Josh, why don't you tell the audience a little bit about the type of furniture that you build? Because it's not like you're making sofas and dining chairs?
2:00
Sure. Well, that's good question, Michelle. It's something that we like to cover when we are introducing ourselves to new designers, is the fact that while our first of all our company name is stalled him, which is Norwegian for steel, and wood, and we came about that name, because, well, I'm pretty much a European mud. I've got heritage from Norway, Sweden, you know, like six other countries in Europe. So I'm just about but my wife has half Norwegian and or Norwegian heritage is pretty important to her family saying we were coming up with a company name, we thought that that one worked pretty pretty well. We, the furniture we build tends to be out of big real materials, it tends to be out of big, solid hardwoods and metals, we work with steel, we work with brass, we work stainless, we work a little bit with aluminum. And so we tend to build a lot of furniture that is, you know, real handmade, not not so much soft goods, things of that nature. Although, with designers we coordinate a lot with with upholsters, and stone makers and things of that nature. But for the most part, you know, the stuff that we build is all over. Because we work with interior designers, we work with builders, we work with architects, and so to say, to pigeonhole us into saying we do a lot of this or a lot of that. And it doesn't really tell the story. We do what people come to us with their ideas to help them solve their problems and their ideas. I would say we do a ton of big tables. We do a lot of weird stuff that people can't have done other places, because of the skill or the creativity or, you know, just the fear of a project failing.
4:01
Right, right. Right. That makes sense. And you guys have the expertise in the background. And I'll say from personal experience, you also take the time to do your research to make sure that the project doesn't necessarily fail.
4:14
Well, we've been fortunate lucky, by the grace of God we have we haven't had any huge mistakes, you know, nobody's perfect, but we've done well.
4:27
Yeah, I think the audience can pretty much appreciate that. as small business owners. There's there's always room for a little bit of improvement. But as long as as long as we can keep the doors open and not make such an epic failure that we got to close. That's That to me is a win. To me. It's a win. So Josh, how did you get in? How did you how did you get involved in designing and building furniture?
4:52
Well, let's see. When I was young, really young from the time I was probably 567 through elementary school, I really wanted to be an artist. But I really found out I was horrible, I couldn't draw in my life. I couldn't sculpt, you know, couldn't pay, couldn't do any of that kind of stuff. But I always had a desire to build stuff. You know, I was the kid that was out in the garage, you know, taking apart everything I could take apart, put back together to see how it worked, and all that type of stuff. And then, you know, as I got older, I got into sports. And that creative thing kind of calmed down, never went away, but calm down. And then it came back when I was, you know, in my, in my late teens and early 20s, where I just really I kind of, I had to be building some I had to be creating stuff. And I started doing photography, which was a, an art form that I could actually express myself and be successful at it. But I also started really noticing and enjoying furniture, a lot of specially furniture made out of like big materials. And so I was working at a place doing photography and catalog production and things of that nature. And there was a lot of welding going on. And so I started asking some of the guys who were welding there to teach me to weld after work, and I started welding. This is in my early 20s, just to make furniture and start making beds and desks and just whatever I needed around the house and then I find a reclaimed are find a junked wrought iron chair, where, you know, all the soft goods on it were bad for him off and rebuilt it into a into a raw chair, and you know, just doing cookie, stuff like that. And I just the, the desire to build furniture just kind of grew, even though I was doing other stuff, right. And then I was working for a corporation doing sales, I had a national sales, directorship job. And in 2012, I got laid off as the 20% of my company, they were trying to cut costs very quickly. And my wife and I looked at our expenses. And she had a very good job and said, Hey, let's do some smart let's start a company. And easy. Right? Right, exactly. So that was 12 years ago, and we've been going ever since.
7:25
Wow, that's so exciting. But it's so exciting. I love hearing the origin story of so many of us in this industry, as you know, the oftentimes just come by it naturally, and go off on a whim and all of a sudden it turns into this, this beast that becomes our business. Well,
7:46
exactly. I mean, I've heard so many stories there, you know, range from people knew they wanted to do it with the College Board to people that didn't get into it until their 30s 40s or even 50s.
7:58
Yeah, my third career,
7:59
and it's becomes a passion. Yeah.
8:03
Um, oh, shoot, I was gonna, there was a question I was gonna ask, how many people do you have working for you? That's what it was. Firstly,
8:10
we have if you include my, my wife, this that is using this my wife cineca. And those of you in the design industry that have met me, may have met her at events. She's much smarter than I am. That would be six plus myself. She is doing our business as a part time. But we have five other full size craftsmen, and I split my time between the office and shop. That
8:42
makes sense. Yeah, you've got your feet and both both pedals. So okay, so let's talk. If I'm a if I'm a designer, and I have an idea. How do you go about approaching somebody such as yourself? And wait, let's also clarify. Do you only work in the Dallas Fort Worth area? Or can you serve designers nationwide?
9:10
Well, that's actually a terrific question. We centralize in Dallas Fort Worth. We have sent stuff all over. We have a our interior design work that we do. And our fine furniture and luxury furnishings. We also have a commercial line of furniture that we do that's for a specific market segment that is involved with what I was doing in my career before this, which is steel, large format production teams, and it's you know, designers by them as well because they're great for art studios and things of that nature. But we ship those all over the country. So because we already have the shipping module kind of built into our business. We have certainly sent furniture to other areas and coordinated via email and and and calls like this, right? Video calls and things of that nature to create our plants. So, you know, we're centralized around DFW in North Texas. But we have certainly worked with people in other markets and enjoy doing
10:16
it, I think that's one of the silver linings of the pandemic, is that there's so much that we've been forced to do virtually, that now. It's just become a part of business in so many in so many ways. So you can work with somebody across the country with the technology that we all embraced. I completely
10:38
agree. I mean, it's, it's set us all up for the tools to understand the business can be done. So,
10:44
so with that, if a designer's listening and they're like, Oh, I've got this project that I was I need something, let's just say kind of like what you did for my house. Josh built a badass table that looks like it's cantilever it into our kitchen island. So if a designer wanted something from you, what, what sort of things do we need to have prepared as designers in order to get the process rolling? Do I just need to have an idea? Do I need to have drawings? Like, does it need to be technical? Because what if I can't draw either?
11:21
Well, no, it doesn't need to be technical. That's a big question. I guess the way to answer that is that the ways that we typically work with Disney, first of all, if you're a designer, and you have a catalog item that you like, that your client likes, and you know, then you can, and you've got a picture of it, and you send it to me, the first thing I'm gonna say is, you've got a catalogue picture of it, why don't you go by? You know, right. I don't try and set myself or team up as people that are going to reproduce. Right, you know, the, you know, we've also had people come to us and say, Well, can you make this for less? And the answer is categorically no, we can't we?
12:15
Yeah. Because they seem designing a market. Yeah, well,
12:20
exactly. You know, when you're engineering something for a one off, you don't get the benefit of amortizing the cost of engineering for 1000 or 10,000 units. So that's not why people call us however, how we do work with people is there's there's several different first of all, designer we would hope would kind of take a look at what we do, either via our website or via Instagram and see what our style because any designer will tell you that not every style is is coherent, or meshes with their with their. So take a look at us and see if you like what we do. For starters, you've got a vibe, yeah, give me a call. And talk to me about your project. The way that we work with designers is generally one of three ways. First of all, a designer can have something in their head, completely designed, maybe they've got it down on paper. And it's something that they've dreamed up that original piece from scratch. And they need someone that can engineer it, and build it and make it a reality make their vision a reality. Right. And we have some designers that we work with are actually wonderful furniture designers. They're not engineers, but they can draw something that looks really cool on paper, and then we can tell them as we go through it. This is what's going to work. This is what isn't, this is how we can, you know, bring this to light. Yep, the second way that we work is that designers will bring a piece to us and say, kind of like what I said before, they'll say, my client likes this table. Here's the deal, we can't buy this table, we can't buy this table, because it's not the right size. It's not the right color, or we don't like this element about it or something along those lines. And so we take kind of their original concept and figure out how we can evolve that into what they need. But it's kind of figured out or the third way that we work is very, very collaborative. And that's one of the things that that I really enjoy with designers is a lot of communication and collaboration. And so they will bring to us ideas of what they like. They'll bring to us pictures of stuff that we've built, say, Okay, here's the functionality of what I need for my space. I like these looks, let's come up with something. And then together, we put our heads together and and figure out what we're going to do. And that's probably one of the more common scenarios is where Working very collaboratively and interactively with with designers on what their vision is. Now, that is what I will warn about that as I ask a lot of questions, because
15:13
we don't know what we don't know. And you have that level of expertise.
15:19
Well, yeah. And, and that may or may not be true. But, but but one thing I'm not is a my, you know, and I've had people bring me concepts of stuff and say, make this work or come up with something. And I asked a lot of questions on what it's going to do. Have you thought of this, this and this, and this? Because I cannot read minds? And so that's where the conversation comes in. Really, really well, you know, there. I'd say those are pretty much in a nutshell.
15:56
So how do you approach the design of a custom piece? Well,
16:01
it depends on what we have to start. I mean, really, it depends on how much information we have to start with, are we going for a look of a certain piece of functionality, aesthetics, from some inspiration, and just through conversation, I think we can come up with a basis to start. Now, if we are designing an original piece, I will say that it takes time, and it takes, you know, brain cells to do it. So in designing an original piece, we may discuss, like a consultation fee, for our time for, for creating and for doing drawings and things of that nature. Right.
16:47
And which makes sense. Because as designers, that's how we charge like there's a design fee for us to create the design, and then there's the actual implementation.
16:56
Exactly. But what I'll tell you is that it, first of all, helps weed out whether or not someone's serious. Second of all, it has fostered and saved so many relationships with designers, because there can always be things that happen that are out of our control. As in the design world, for instance, I had a I had a designer that I was working with, that did pay us a design fee for a set of three pieces of furniture for a for a very big house. And right after we kind of got all the approval done and all that kind of stuff. The house caught fire and burned down. Alright. And, and so the designer had to put the entire happy put the kibosh on the entire project. back those I was bummed because I really wanted to build this stuff. But you know, it's out of her control. It's out of my control, but and there's no place. Well, not only that, but yeah, but I'm not upset because we my time and my efforts are covered. And then you know what she does? They buy a house, another house. And a year and a half later, she comes back and says remember all that stuff? We designed? Let's go? Let's kick it in. Awesome. Yeah, right. Then there's been some other circumstances where designers will come up with that with a dream they have for rooms, they'll have us design something, and we'll go full blooded on it. And not her fault. right towards the towards the deposit stage, the client changes their mind. I really, I don't think that piece is where I want to put this money. I want to put it over here. Let's just go with the catalog on, you know, and again, if, if, if that designer feels horrible calling me and telling you that, but if she's paid her design fee, then we both met our obligations to each other. And that's on our client, you know, and our client absorbs that instead of instead of her absorbing it or me absorbing you. And then yeah, and then, you know, next time she needs something, she's not going to feel bad about calling me or he's not going to feel bad about calling me. No,
19:18
no, that's good business. It
19:23
it keeps the relationship very, very professional in a way that none of us feel like we're being taken advantage of.
19:33
And it's straightforward and you know what all fees are gonna they're laid out on the table. Yep. So one of the things one of the things that we also have to do is that we can't put our, our own money mindset in our clients wallet, because it was the client's choice not to proceed with the design even though they had already paid for it. So there's really not any reason for the for the designer to feel bad. Add, because like you said, you got paid for it and the client, you know, what's, whatever their value is on that design fee? Is not. It's not I don't wanna say it's not our business, but we can't read minds either. They just have a different perspective. Sure,
20:17
sure. And I just think it keeps everybody working and keeps everybody on a professional level and, and then you don't need to get feelings. Yeah, yeah, man. And most importantly, nobody loses money.
20:33
Yeah, most importantly, amen to that, yes. Imagine trying to bake a cake without a recipe. You kind of know what the ingredients are. But you don't know how to put it all together. After lots of hard work and trying different combinations, all you are left with is a sticky situation and a stomachache behave. Running an interior design business can feel exactly that same way. That is why I created the interior design business bakery. This is a program that teaches you how to bake your interior design business cake and eat it too. If you don't want to figure out the hard way, and you want guidance to follow a recipe that has already been vetted, someone that has already been there and done it and will help you do it too. Then check out the year long mentorship and coaching program, the interior design business bakery. If your interior design business revenue is below 300,000. Or if you're struggling to make a profit and keep your sanity, this is the only program for you. You can find that information at designed for the creative mind.com forward slash business dash bakery, check it out. You won't regret it
22:01
how long? And I know this is a very general brushstroke. But how long does it take to design furniture and execute it clients don't necessarily understand how long it takes for us to design a room. As designers, we don't know how long it would take for you to design or build a piece of furniture. Can you explain kind of what that looks like in general, because it's not like you just put it in the cart and checkout?
22:29
Absolutely. And you know, that's, I think this is an important thing to cover. When looking at custom stuff. First of all, the scope of the project certainly has bearing, you know, we have been able to do small stuff relatively quickly. And when I say relatively quickly, from the time we design, start designing till the time we deliver maybe four weeks when we get into larger items, very big Custom Tables, or, you know, some other big projects we've done. For instance, last year, we had a really fun one where we designed a nine foot wide by 12 foot tall moving wall for a cool for a speakeasy setup and a house in Dallas. It looked like it was a wall at the end of a mirrored wall at the end of a hallway and and but the whole wall moved when you put a picture on the wall and Oh
23:30
fun. That took a little longer than four weeks, I would imagine it took a
23:34
little longer, I would say from the design time depends a lot on the designers approval process with them. I mean, to physically design something can take anywhere from a day or two to a couple of weeks, depending on how big a project it is. And the moving parts. Exactly. And then the and then it gets kicked to the designer and their client to talk it over approved, see what changes are made. From the time we say this design is ready, and it's approved, and we're ready for deposit on it. That can is generally right now with our work queue between eight and 12 weeks on average. Right? So a whole process could be anywhere from, you know, two months to three or four months, depending on the scope. And depending on how quick the client designer side is working.
24:37
That makes sense. So the communication between the designer to the client and then any revisions need to be relayed back to you and then they have to be approved again and back and forth. Yeah, that can that can take a little bit of time. Now
24:50
there's ways that we can, you know, short circuit that too, there's ways that we can cut that close I am always happy to get On the phone or have a meeting, whether it be at the client side, or the designers office or our shop, quite frankly, with the client, you know, and you know, a lot of times that can be beneficial. Because when we talk with the client, they the client directly, we can help them get emotional buy in on the project, you know, shown samples, let them pick part of that part of the materials, or let them pick colors with us, and kind of helps them get emotional buy in on a project, especially larger projects. And I am very, very comfortable talking direct with with finance. Well,
25:41
imagine your sales background comes in handy with that too. Well, yeah, not like you're gonna sell, you know, it's not like you're gonna sell them something they don't need. But you understand the psychology that goes behind that buy in? Well, absolutely.
25:54
And yeah, you helped. I understand the psychology, but I don't want to be their psychologist.
26:04
You don't get paid enough for that? Well, I do design for you there. So
26:10
there's, that kind of plays into a whole nother thing that I know, you and I have talked about shall pass the fact that, that I don't take clients direct, I don't take homeowner clients direct, ever. I was
26:22
just going to ask you that. So you only work with design professionals?
26:26
Yes. And and what that does is that allows us to concentrate on what we want to do, which is build wealth. We don't become a marriage counselor. We don't get caught in the analysis paralysis. That's your job, not mine. And and certainly I don't want to become your debt collector or their debt collector any either. You know, yeah, that makes sense. You know, we've got, we've, we've got kind of steps for working with us and working purely business to business and not business to consumer works for us. I will say that the only time I've ever broken that rule has been with extremely wealthy clients that I knew prior. I almost always regret it. But not always, but almost always regretted. I mean, I just prefer to have the relationships with designers. And you
27:22
can always refer them to ml interiors group, and we'll take care of it for you.
27:26
I'll tell you what, and I do I actually get a fair amount of calls from, from Facebook, from our website, and from Instagram of people wanting me to build them a table. I have also had calls, you know, two, three years down the line from a client who we had worked for through a designer, and they said, Hey, you built me this a few years ago, can you build me another table? I said, Absolutely call your design.
27:54
And it's nice to have those boundaries that are so black and white.
27:58
And I have to say that in 2023, I've probably turned down more than a dozen inquiries about dining tables, and things of that nature. Because of that. And I would tell them, just tell your designer, you know, we only work through designers, right? And it's because they help get into your environment a little better, and understand what you're thinking better. And I'm staying in my shop, and I don't have that connection with you and I and I will read your mind. And so,
28:31
you know, have your designer follow me. And I think that's great, too, people really
28:37
kind of on the flip side of that is when I have even for some of the wealthy people that I have built for firsthand, they always have designers as well. And so they will come to you know, they'll come to me as the wealthy homeowner and say, Hey, let's build this table. I liked that table. It's really cool. Well, that may not jive with what their designer that they're already paying a lot of money is thinking. Yeah, maybe the designer doesn't like what I do, I don't know. But I have gone knee deep into into projects and sometimes waist deep into projects. And it's not coherent with the designers vision. And if I had to had that conversation with the designer in in the first place. I could have saved myself and the designer, a lot of headache. But I've had basically projects that have been that have been a complete waste of time because the designer I didn't have a relationship.
29:39
Makes sense. Yeah. And at the end of the day, all all parties need to be on the same page. So the fact that you're willing to chit chat with them and walk them through and get that buy in and sell the process up is a huge benefit to the designer because then you still bow down, not bow down but you still bow out and allow him or her to navigate the rest of the process, you just step out of your expertise. And I think that as designers, it's important that we take full advantage of vendors such as yourself who were willing to step up, and have those conversations in addition to the design in the build, to make sure that the everybody understands what's going on, what the end result is going to be why custom furniture is, you know, is going to elevate the overall design.
30:37
Well, I think that it just fosters a better relationship with who, who my ideal client profile is. And by the way, I got that from you. But my company takes the stairs from a from a spaceship, boom, about a year ago or so that I saw her not a speech, but a presentation about a year or so ago that I that I saw you give, and I took plenty of notes. And we bought into that concept of looking for our ideal client profile. And, you know, and it seems it's not a homeowner, I'll tell you that. We have tried to stick with our or look for and seek out and do justice to our ideal client profile, which are designer stead of which are designers. Exactly. And you
31:26
know what, though, Josh, you help. So it's a symbiotic relationship. Because while we as designers are your ideal client profile, you as a custom furniture, designer, builder, just all the things with your level of professionalism, you help elevate our business, because we you can bring our designs to life. But also, it's such a unique solution, like the table that you built for my house. Nobody else has that. At least I'm assuming you haven't provided that for anybody else.
32:03
It walking into your kitchen, seeing what it was like beforehand, and then walking into your kitchen. It's just it's an imagine opens up that area. Just wonderful.
32:16
Yeah. Oh, we're putting it on the market next this weekend. We're selling the house. Wow. Crazy, huh? Yeah. So there's a little nugget of information. Hey, Mom, I think I've already told you that. But just in case, we're selling your house. Well, but seriously, she'll
32:34
be interested to see the house regardless if they want to buy it because it's got a history, I'll leave it at that. It's
32:40
got a history, and it's got a really badass table that's built in. But had I done that for a client instead of just myself personally, and what my for my team like that brings such a level of customization personalization. It really elevates the design, but also as designers that elevates our business, because we can share this is a custom solution, that you can't just go out and buy something out of a catalog to serve this purpose. It's, it's, it's a great, it's, it's a great relationship back and forth between custom solutions for designers. And it just makes it a hell of a beautiful picture.
33:25
That's what we try and do. I mean, we getting into interior design, I mean, interior design, as I think, in general, there's a reason why I do it. And I don't know this, why this or I don't know if this correlates to everyone. But the reason I do it is that everyone has that certain something in their lives, that makes them smile. And you may it may be that favorite outfit that you put on when you're getting ready to go on. It may be the feeling you get when you drive into your driveway and you see your house, it may be for some people it is you know, you walk out in the garage and you see that car that your goal your entire life. And for some people, it's when they walk into a room that's been created for them. And there's that piece in the room that every time they they see it, it elevates there, and it makes them smile. And and you know that's what furniture does for me is you know, you walk into a room and you have something that you like, and you get to see it every day. It helps elevate your mood every day. It absolutely design is a mental health therapy.
34:40
It absolutely is. I think I just read a blog on that for ml interiors group. It really makes it makes a huge difference in everybody's life. And I think that our audience, the listeners understand that inherently. Because that's what we do is we create spaces that provide a feeling of refuge, a feeling of peace, that it feels like a hug when you walk into the room. And your pieces just continue to, to finish those spaces off. So I think that if y'all are listening, don't, I think one of the things I want to make sure is a takeaway from today's conversation is, don't shy away from custom. Custom is a way to elevate your business, create better designs that are not just more aesthetically pleasing, but also oftentimes more functional. Like Josh put a hell of a finish on my dining table, my my husband, and my daughter who's five years old, cannot destroy it. Even though they, of course, you know, put a hot coffee mug down or whatever, put the you know, the we don't get rings on our table. But also, it's it's don't be afraid of it. Find Find yourself a vendor call Josh. You know, call somebody in your neighborhood, whatever that looks like and just talk to them. Because you are here to serve. The designers that are here to serve our clients, there's there should be no fear back and forth. I know a lot of designers are afraid of custom because they think it's cost prohibitive. And it's not cheaper, but it's not cost prohibitive. And we also have to remember that our clients are the ones that are paying for it. So get out of our clients wallets, and start making decisions for him.
36:24
And not only that, I think that is part of the conversation. I think that all that is absolutely true. I agree. 100%. However, I will also say that art of the initial conversation and getting to know a designer, helps us understand what they want. And if that's within our skill set our style, or something along those lines, kind of pulling full circle to what we talked about in the beginning, when I said check it out. Because I would be ridiculous to say we have something forever. That's just not the case. You know? Nobody does. Well, yeah. And but when we, when we have that initial conversation, if I don't think I can do your project service, I'm going to be honest with you. And I'm going to say not really up our alley. And here's why. You know, I may meant I may not be the ideal maker for you on this particular one. And here's why. Or and you know, sometimes things change, you know, sometimes maybe this project isn't the right one, but the next one is or maybe sometimes things about the project change and and get into a situation where well, it what doesn't make sense for us to do it?
37:45
Well, and I think that that's important as well, because we can't be all things to all people. And then if we try to get outside of our wheelhouse, like if you went down over traditional, you know, style, if anything, it opens up the more likely possibility that you're going to disappoint the designer and their client and embarrass yourself. So it's much more important to just say, No, we're not going to be the best solution for you. I know I would prefer that on either side.
38:14
And I don't really have a problem saying, I really do. If I if I think we can do something justice and really create something special, then obviously, I want to do it. And if I don't think that we can, then then let's short circuit the time on it, let's and be honest about it. And in the beginning. I mean, the whole The whole point is I think the reason why we're here, the reason why we're in value is because we're here to make your lives a little easier. And we're here to make you look good. We're here to be an extension of your business. And if those aren't happening, then that particular project may not make sense.
39:01
Yeah, that's the end result that we're looking for. Well, I love that. Josh, let me ask you this. If you were not in this business, what would you be doing?
39:15
Wow. I don't have a plan B.
39:22
Well, maybe there but let's just say, in a perfect world. Would you be that artist if?
39:28
Well, I think that knowing what I know now, if I were to get out of this, I would probably pursue one of two things it would probably pursue something to do with creating sculpture and art, things of that nature, perhaps or furniture as art. I mean, I don't think that furniture is going to leave my blood. I just I just dig it too much. And you know that being said, I really like it. mechanic's and mechanical stuff to kind of one of my hobbies is, is really into Toyota Land Cruisers. And so maybe I build trucks. Yeah, I mean, like I said, growing up, I was always taking stuff apart and putting it back together. Right, you know? My wife laughs is right. Ally? Well, I, when I think about what I, I had a lot of opportunities to do a lot of stuff. Besides starting a business when I got laid off from a job, right, my last position, and a lot of it involved being on an airplane, flying two weeks out of every month, making very good paychecks by international corporations. And I, I kind of saw it as a as a deal with the devil where yes, I can do it, but I would lose myself, I would lose my salon, I would be happy. So I chose the route where I could do what I wanted to do and, you know, fight through all the business and fight through all the all the headaches and everything and aches and but get to do what I wanted it.
41:10
That's such a blessing. It's such a blessing. I totally understand that there's there's no place else I would rather be than serving this industry, though. The way the way God has put me and I think it's the same thing for you is what I hear. Well, you know, you're exactly where you're supposed to be.
41:28
You put up God put you there, you know, he and I talk every day.
41:35
That's good. Those are good conversations to have on a regular basis. Yeah, he and
41:41
I talk every day. And so far, we I think we agree that I'm where I'm supposed to be.
41:47
It's a good feeling. When do you wake up oh, just tell the audience how or where they can connect with you. You had mentioned your website and Instagram earlier and I wanted to hold everybody until now.
41:59
I think that first of all, understanding what our company name is stole timber, it's actually behind or we're on audio not video, it stole sta L one out. And a lot of people try and put an extra hell in there or put an h in there. It's just sta which is Norwegian for steel, and timber. And that's our website stalled timber.com. We are also on Instagram at stall timber is our is our Instagram handle. They're also welcome to email me at Josh at stall timber dukkah.
42:39
And y'all, I'll make sure that all of that information is in the show notes. So if you do go try to find style timber. And the Google doesn't pull them up, you can cruise back over to the notes. And we'll show you the proper spelling. So Oh,
42:55
need to train the Google upright train
42:56
the Google train the Google. Now I think that this podcast is going to be coming out with enough time that if y'all are listening, and you are interested in the interior design business success summit, we're holding that the second through the fifth of April, there's still time to register for the summit. I believe this will come out on Monday the 22nd 23rd 24th 25th Yeah, so if you guys are listening today or tomorrow, head on over to design for the creative mind.com and then click on the summit and you can still get registration. If it doesn't let you register. You can DM me directly. And I happen to know people that can sneak in. So thanks for being here, Josh. Thank you all for listening today. And until next time, choose grit choose to be great today and every day. Josh, we appreciate your time. Thank you Michelle.
43:57
This has been terrific.
44:00
Hey y'all
Transcribed by https://otter.ai
