Interview with Linda Cardillo of Bellastoria Press

I had a great chat with publisher Linda Cardillo of Bellastoria Press. Full disclosure: Bellastoria published the first two volumes of my Orphans of Tolosa Trilogy and will be publishing the third and final volume in 2021. Linda is fabulous to work with and a terrific author too. We talk about the ins and outs of hybrid publishing, the options for publishing today, and how Bellastoria has carved out a niche recently publishing historical fiction.

We also mention the fabulous Jane Friedman, whose industry knowledge and wonderful online seminars about topics of great use to writers are well worth the modest prices she charges to attend them.

Transcript

Susanne 0:29

I'm here with my friend, Linda Cardello. Who's been on this podcast before as an author, but she is a multitalented woman and she also happens to be the co-founder of Bella Storia press, which is a hybrid press, which has carved out a little niche for itself in publishing historical fiction. Linda. How about telling us a little bit about how you came to be a publisher? First of all?

Linda 0:56

Sure. my co-founder and fi and I were at a romance writers of America conference, several years ago. and sitting on the floor in our room, drinking a bottle of wine and Going over what we'd been learning at the conference and what we've been seeing and hearing from other authors and recognizing that the market seemed to be drawing up for those of us who published multiple books, in the romance genre and the, our publisher Harlequin seemed to be looking for something else other than what we were writing. And we thought there's. We thought they were certainly still in market for the kinds of books that we were writing. And that we definitely learned a lot and had published 10 books with Harlequin and I had done four. We've been very well-trained by a senior editor who we had shared at home with him. And we thought, we're pretty smart women. We probably could figure this out and perhaps start a small press because we were hearing from other authors like ourselves. Who had a good start in publishing, but we're finding that the authors were drawing up or subsequent books. So we put together a business plan, ran it by there's a small business, council here in Massachusetts where I live, that's associated with the university of Massachusetts. And it was actually run by a friend of mine. I met with her. She will be able to business plan, give us some suggestions. And off we went, we wound up, in the beginning because of contacts that Anne had with each of us were in creative groups. And as in Virginia and she had come into contact with a number of, writer, illustrators who were produced, who were writing children's illustrated books. And so we started with those, in addition to, some of our own novels and reaching out to some of the former Harold grin writers that we had known personally. And we started out with just a handful of books. And began to learn the business, all the aspects of it in terms of, print and ebook production, we do both and over time as we were writing in different genres and is now writing in magical realism. And I, at the urging of my agent began to dip my challenge, challenging writing historical fiction. We came into contact with other authors and in particular, came in, I came into contact with you, at writers in progress where we shared similar histories and we, we published the we've started to publish your trilogy on your medieval trilogy that gotten that first two books similar. Looking forward to the third, but also, the real, you, met an Easter Smith who had written the fifth of her, worst of the roses books and was looking for a publisher and we wound up publishing that this son of yours. And I also attended the historical novelists. Conference in June of 2019 and met a number of other writers of historical fiction. And those contacts have blossomed into being approached by other regulars of historical fiction. And, we've gotten in, in addition to those contexts that I made at the conference. Two more new debut offers. we've also written start with fiction. So we're now doing anything from the Punic Wars to Victorian England, to medieval England and the depo France, and the Italian Renaissance. And so yes, we have suddenly, developed this niche for, publishing historical fiction and really loving it. Also developing, a group of editors and proofreaders and cover designers who are familiar with the genre. And so we're beginning to gain really, gain a, a reputation and a name, as a publisher is temporal

Susanne 5:31

fiction. Yeah, I think, you do a great job first of all. But second of all, what's really interesting to me is how. The situation of the market of historical fiction contributed to. Making someone like you really important because it's very hard to get anything pretty much other than world war II fiction right now published by a mainstream publisher. occasionally you see them. If somebody has been a really big seller before, like a Lauren, Willie or somebody like that, you'll see. they'll have a new book out and it's not world war II, but, those of us who write in different periods and actually don't really like to write about war time, all that much. we're left out in the cold and for instance, an Easter Smith, she has a readership and her fifth, everybody wanted her fifth book and then come forthcoming is, Pat Bracewell, Patricia Bracewell. Who's Emma of Normandy Trelegy was so popular and did so well. And then suddenly her publisher didn't want the end of the trilogy. So yay. You stepped in. Got it. Which is terrific.

Linda 6:47

wonder it's a wonderful book as is an Mr. Smith and that's, it is thrilling to me to be working with writers of this caliber, who also. Not only have a following that certainly, but really understand the business and are, are just so eager to be participating and working with us. And that's one of the things that we really try to offer our author is, a real partnership. particularly when we get to. the marketing end of things, but we're also very, we engage our authors very early and ask for their input in terms of coverage design and, the layouts of books and things like that. Because which as I'm sure you probably experienced in your early days with a major mainstream publisher, we didn't get very much say over what the cover or even the title of a book was. back in the day. And I think that we dealt with story of respects, the knowledge and experience of the authors that we're working with. And really, it's a real dialogue in producing the book.

Susanne 8:02

I know. Yes. And I know that a lot. Authors who have been published by mainstream press and, are either wanting to do something different or whatever have realized that once they have that the readership or the ability under their belt, having more control is a good thing. And, The hardest part though, when you're not published by one of those guys is getting anyone's attention. And, that's maybe always going to be a problem, but there have been some very successful authors who are self in hybrid published. So what do you see as the biggest challenge in your publishing model?

Linda 8:43

Definitely visibility that, making sure that the books we publish are getting noticed and that's, it's a huge hurdle as you know, as well. we're doing our best to educate ourselves and then educate our authors on use your best practices and. Where to put most of their energy and, we understand, and we, because we are regulars ourselves, that the balance one has to achieve between actually writing the book and then marketing the book and doing those things that are going to give the book visibility. And we are, doing our best to try to raise the visibility of Bella Storia. and then bring along, our authors as well. One of the things that we did, and I'd say, as I mentioned, we had started out, in our early years publishing children's illustrated books and two weeks ago, with national children's book week. And so we got this many of our children's book authors as possible to, to video themselves, reading their books and we put those out and we have a YouTube channel. And we've been promoting those as a way of gaining some visibility for books and given, how successful and also how excited our authors were too. Do that. I'm thinking that it's certainly, would be an interesting thing to do with our, with our other authors as well. That I think that those are, Effective ways of spreading the word and that they can, then those are things that can be shared with their leadership and then hopefully shared on, but it's, it is the biggest challenge that we face as, as publishers, the things that are under our control, we've, and gained some expertise in terms of, book design. And working with our prayer Jersey and working with our ebook distributors. But the visibility piece is it's definitely something that we are continuing to look for better ways to do

Susanne 10:51

well. It's also something you share with. Small traditional publishers. They have just as much trouble getting their authors in their books noticed as a hybrid publisher does. And, distribution of course is another thing. Although it's ironic at the moment with bookstores, not being something that people can really go in and browse, not having your book on a bookstore shelf is not the disadvantage. It was.

Linda 11:22

one of the things that we, that we have been doing though, is reaching out where we do actually have, relationships with bookstores because we see it as mutually beneficial for us to promote a local bookstore as well. we recognize that it's very difficult for these independent bookstores to carry lots of books on your shelves, but. We can certainly direct our readers to book stores. we have links and those bookstores are very happy to fulfill those orders for, Bella story books, but it also gives them some visibility through our website, through our events. When we, when we do, we've been doing lots of zoom presentation. We try to promote the bookstores as well. Yeah.

Susanne 12:10

Yeah. It seems it's a win-win for sure. And, it's like the Davids all getting together against the Goliath, but, and it's so much in the spirit of innovation and just using creative thinking to solve a problem and. It's really what's interesting to me is that I don't think hybrid publishing or even self publishing has the sort of taint that it once had either. And I think that's partly to do with the fact that the books are very professionally produced and designed and everything and the quality is high and you don't just take everybody who comes to your door. Do you.

Linda 12:56

No. we are definitely a selective press and we do review a manuscript before we're willing to offer a contract to a writer. we are, we have just recently set up a new imprint, dream list, which is mainly for people who are writing memoirs for their family. a small, small, Distribution where it's a very personal kind of book where, they get, a small pack. They basically get a small package to, have the book, happy, edited proof-read and, usually it's just a print edition and that's a totally separate imprint called dreamless, but the Bella's story of press books themselves. we are selective. we are, We've certainly rejected books. We're not just taking everybody because we really want to develop and a reputation for quality in the content of our books, as well as the way they look, and that's important to us. But I agree. I think that there's been a huge sea change in how hybrid and independent, presses are perceived, particularly because. The, with the consolidation of the major publishing houses that were the, that, and the corporatization of them, where there really is such a focus on the numbers and on sales and on what the quote hot topic is. As you say, world war II, which seems to be going. Still going strong, remarkably that the opportunity really fine writers is, has just narrowed so significantly in the last 10 to 15 years. And there is so much good work that could be, could gain a readership. and I, and that's part of what we see, I think is our mission at Bella story. Is that there are wonderful writers out there who need an audience and we're trying in our small way to keep them.

Susanne 15:05

Yeah. and of course the other thing is getting published by one of the big five, Is no guarantee that you'll actually get the support of the bank. they choose, there are they're anointed books and believe me, I have friends who have books on those and it's, I'm so pleased for them. They get big sales, they can sustain a career. it's awesome. And I totally am not, I'm envious, but I'm not sorry that they, that happens for them. But unless you happen to be one of those anointed kids, You don't get a lot, they send out arcs and you maybe get some trade reviews or whatever, but it's really up to you as the author to do stuff and get yourself out there. And it's, maybe you have a slight advantage if you've been published by Macmillan and you're going out and trying to get, appearances and stuff, but yeah. Probably you'd have to hire a publicist anyway. so the difference between, yeah, there's a big difference between a huge runaway bestseller and something published by a hybrid press, but there's not all that much difference between, Something, one of their sort of down list books that they don't give a lot of support to and what you do. And in fact, there are ways in which you have the upper hand there, because you're focusing on those books, you're doing everything you can do to get them into readers head.

Linda 16:35

Yeah. And that's, we, our list each year is very manageable so that we can give our authors. Really undivided attention. And, we've added a partner, on a network whose, main role has been, in addition to she's our audio book Jew, which is an area that we're now just beginning to, to go into we're. we produced one earlier in the year and the second one is about, is almost finished in terms of production. And we are. Planning to do audio books for several of the books that we've got coming out in 2021. And, but Fon, his other role is basically she just spends hours with authors, helping them develop a marketing plan, keeping them on task, sending out arcs, compiling the reviews as they come in. So everything's ready to go. And when the time comes for it, For those reviews to get out there. she's and part of what we are offering at is a very personalized experience with, our authors, because there were three of us. and we generally were doing maybe six to eight books a year. you get a lot of attention. Yeah. And, there's, I'm, I'm communicating with my authors seven days a week.

Susanne 18:02

Yeah. Yeah. so what's the most surprising thing you've learned in the course of doing this publishing gig.

Linda 18:12

That there's always something else to learn, that, and I really try to make time. She stay on top of, things that are happening in the industry, trends, new ideas for, particularly getting the books marketed. Jane Friedman is a real favorite of mine and I just did it. I watched, a seminar, you and I were both there. And, and I've picked up the book that she recommended show your work and I'm, Really, they're trying to learn from it so that I can then pass it on to my office and say, here's some ideas. let's give, see what you are comfortable doing and let's give it a try and see if something like this might work for you. And, but, the industry changes so quickly that it's, I really have to make sure that I am making time. And all three of us are doing that, into we'd have. Chosen sort of different paths that we are gathering information so that we can share with our authors and help make things better. But that's it. Yeah. There's always something new to learn is what I've learned. That's the most important thing. Yeah.

Susanne 19:17

I'm with you with Jane Friedman. She's an amazingly smart savvy person and very generous too. I mean her seminars or whatever, I like$25 and an always worthwhile. And I will definitely put a link to her site in the show notes for this. as well as Bella's story. Of course. what kind of. What kind of advice would you give to someone who wanted to submit their manuscript to you?

Linda 19:47

I would say, the first thing would be to go to our website. There are manuscript guidelines, to make sure that the material that you send to us. At you initially makes that first pass that we can say, okay, this is somebody who pays attention and knows what we're looking for to Steven in terms of format. but to also look at the book, look at our catalog, see the kinds of books that we are publishing and make sure that what you're writing is a good fit for us. And also recognize that a hybrid press means that the author is also investing financially in the production of the book and to be prepared and not be surprised by that's, that's part of the model. and it's how we've been able to sustain ourselves because initially we were not a hybrid press and financially it simply was not a business model we could sustain. And, because the other thing that writers need to understand new writers need to understand is the very small amount of money that comes per book in terms of royalties, that there is the cost of producing and distributing books right now, takes a huge chunk out of that, that retail list price, and what the author winds up with is. is not, they have to recognize it's not going to be, a lot of money unless you sell lots and lots of books. And what we try to be very clear with our authors is to help them understand, the financial model and also what, what they can expect to earn from, and publishing with them. And I

Susanne 21:35

also think it's a question of priorities too, it's like, why do you want your book out in the world? If you want to go and make lots of money, that's not really the best reason to publish a book, because even if you're published by a buyer, one of the big five, you're not going to make a whole lot of money. Generally speaking the advantage there is that they will give you an advance. So you actually do get some money, but, In any case, At least for me. And I think probably for a lot of your authors, it's that? Okay. We have a history, we've written lots of things. We know that we can, that we have readers who want to read what we've written and we just want to get it out there and into their hands. And, it's not a living for me, certainly, but I am so glad that I made the decision to, both hybrid and self published some books recently because, I had vanished previous book before we started working together was 2012

Linda 22:37

and I was very similar situations exam. Yeah. And, And I, when I look back now, at the six books that I've published through Bella Storia, those books, if I had held out in and tried to sell those two big ones, I don't even know if one of them would have made, would have been picked up. And as a result, I've expanded my readership. I have people who are waiting for my next book. And I think that's a situation that many of us find ourselves in that we really just want. Our readers to have our books to read. And I always remind myself of something that I read that, from Tony Morrison is a very well-known quote, which is don't quit your day job. Don't quit your day job. And, and so I think that it's a passion. To not, to want that those words to be read, it's a passion that really sustains us. And that we just look for ways to do that are, we're fortunate that it's not 25 years ago when the only, the only resources available to us were the major publishers and. The, the limitations that placed on us. And now there is, there is opportunity for our words to be read. And, I think that's really important

Susanne 24:00

here, here I do too. And, and as a writer, if you're a writer who. Doesn't want to just get your one book out that you have that you think, Oh, I just want to write a book for whatever reason. And there's lots of valid reasons to want to do that. But if you're a writer, like you are an I am and Pat and, everyone and

Linda 24:22

sorry, and

Susanne 24:24

names really, it's more than that. it's. You want to keep writing and you want to keep telling those stories because they matter, they really matter. And, and I'm, so I'm absolutely thrilled to have, the third volume of my trilogy will come out,

Linda 24:42

looking forward to

Susanne 24:44

it, but it was a little harder to get done. Then I thought it was for all sorts of reasons. One is that I've never written a trilogy before, but, The point is that would never have happened with traditional publishers way back when I first wrote it first wrote the first part of it, like 15 years ago, my publisher then found it, thought it was too obscure that nobody would buy it. So I knew that it wouldn't matter. I would never get out in the world unless I decided to do it a different way. And I think it's given some pleasure to some readers, which is always a good thing. So

Linda 25:25

I think all we have to do is look at, how people respond to our work and, the feedback that we get to know that, our stories do matter and people are enjoying them. yeah.

Susanne 25:38

Yeah. It's Anyway, I'm grateful. and it's, I would encourage people to, of course I think always the first thing, especially if you've never been published before, go for the big guns. If you go and query, go and try and get yourself out there, because that's going to be the best way to get some credibility, to get the trade reviews, et cetera. But don't beat your head against a brick wall, if it doesn't happen. And you've got something that you think is good and that could really be out there and people would like to read, you have that, you have other options you do. and a hybrid presses like Bella story is certainly one and there are others around the country. And there's always the big, she writes press, but. That's a little on the pricey side for most people, but they do a beautiful job. So again, it's all about your priorities about what you want to get out of it. yeah. Linda, thank you so much for coming on. This was a really good conversation and I'm looking forward to. Interacting with you more and more. We all, we are friends as well as colleagues, so yeah. And Linda and I live near each other, but of course we haven't been able to actually physically be in the same place for a long time. And I am looking forward to that changing, but, yeah.

Linda 27:01

Yeah.

Susanne 27:02

Yeah. All right. So thank you again, and

Linda 27:08

thank you.

Susanne 27:09

We will talk again.

Linda 27:10

Okay. All right. Take

Susanne 27:12

care. You too.