Writing a Christmas Story for an Established Series

By Elaine L. Orr

Sometimes, an idea comes to you and it doesn't matter what else is on your plate, you have to run with it.

A couple of weeks ago, I was thinking about my family history mystery series, which takes place in the mountains of Western Maryland. I'm developing an idea for a 6th book, but I missed the characters right now.

Slowly, the idea for a Christ story began to take shape. Like all good stories, mystery or not, there had to be something that needed to be resolved. Hiccups in personal relationships are always an option but I wanted something that more directly related to aspects of history in Maryland. So I did both.

I also needed a hook that tied the story to the past, The link became a broken Christmas ornament that would be a symbol for other things that needed to heal. 

Most of my characters are White, but a few key characters are Black because I always want to remember the importance of African American history in the Western Maryland mountains. In Broken Ornaments Healing Holidays, the discovered ornament came from a long-burned-out factory in the town of Maple Grove. But it is the discovery of a body in the ruins back in 1948 that provides insight into how differently Black and White citizens interact now than they did then.

The story is designed to be pleasing holiday fiction, but it does provide a perspective on something serious. So, as Digger and Marty explore where their relationship will go, they and others also hunt for the family of an unidentified man who died decades ago.

Writing a story that is in a series but is not part of the continuing flow of the series was more of a challenge than I thought it would be. With a full-length book, you can insert information about past character actions and enlighten readers about what's going on right now. In a 17,000-word story there isn't a lot of room for background. I tried to find the mix between letting readers know about ongoing characters without dumping a lot of information not directly related to this story.

Readers can decide if I achieved that.

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To learn more about Elaine, visit her website or sign up for her newsletter.

The Makings of a Good Book Festival

 By Elaine L. Orr

Last weekend's Peoria Bookfest was one of the best I've attended over the past fifteen years. Organizer Stacy Hardin owns the Book Rack in Peoria and her well established links to the business community were evident. 

Here are some of the things that contributed to the experience.

Diverse vendors. Thousands of people won't attend a local author books show in a medium-sized city unless a super famous author is signing -- not common. There were dozens of book authors but also crafters, culinary firms, and a few nonprofits. All of those people told their customers and patrons to attend the November 14, 2025 event.

Admission fees. What?! Admission fees imply there is value to participating. The fact that the Book Rack Literacy Project -- a community outreach program to provide free books for thousands of teachers and students per year -- benefitted from the event made the entry fee a worthwhile one, even if attendees weren't shopping for books.

Special benefits for early visitors (who paid a larger entry fee). Stacy promised 300 people at opening and she delivered. There was a long line to get in! People received cloth goodie bags (which also would publicize the event afterwards).

Sponsors from the community. Some contributed to the goodie bags and others secured booths to promote their businesses -- and likely things I couldn't see from behind the scenes.

Lots of publicity. The event was promoted as "one unforgettable celebration of books and community!" with 115 vendors. Facebook and Instagram had regular updates and local media had ads and mentions.

A strong business connection. The Peoria Book Rack (which Stacy bought in 2016) is a well established business that attracts book lovers every day.

This was the second Bookfest (the first in 2019, before COVID) and the next one will be November 14, 2026. If you want to participate, email Stacy for info at peoriabookrack@gmail.com. In the meantime, enjoy some pictures from 2025.

Can't resist showing my books (Elaine L. Orr) first. It also gives an idea of how packed the Bookfest was. My five series did fit on the table.

"Look, It's My Book" gives new books to thousands of young readers each year.

Allison R. Ihnken and her mix of period romances and children's books.

J. Lawson, author of Peculiar Lessons, with her mix of books and crafts.

Skye Malone, author of very popular teen and young adult books.

Evan Clouse and his mix of paranormal fantasy, horror, and more.

D. Williams, author of the Eternal Love Series.

Teresa Higus, another cozy author

Finally, the question all authors ask after a book event: "Did you make money?" Yes. Candidly, I didn't expect to do as well, because there were so many authors. I usually do better at craft shows and bazaars. Here, I sold books.

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To learn more about Elaine, visit her website or sign up for her newsletter.

Things that Stick With You

By Elaine L. Orr 

Many times I've seen an image or heard a story and thought, "I'm going to put that in a book." Here are a few:

• Back in the day, a neighborhood teenager liked to do target practice by shooting through the O in a Stop sign. I think a BB gun, as it was a suburban neighborhood. Eventually there would be three or four holes, so he'd unscrew the sign, move it to another corner, and transfer the 'clean' sign to his street.
• When my mom finally had to enter a nursing home after a series of strokes and MS, we made the move as cheerful as possible. As I left the first day, I said, "Mom, I'm so sorry all you can move is one arm/hand and your head." She said, "It's a lot compared to none."
• Just before the Christmas holidays when I was in college, a group of young women made a large 'Peace on Earth' sign to hang (at night) on the ROTC building. I can still see it flapping in the breeze.

May you have as many funny or poignant memories.

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To learn more about Elaine, visit her website or sign up for her newsletter.

Choosing a Novel's Setting

By Elaine L. Orr

Sometimes an idea comes for a character or the starting point for a book, but I can't really start writing without knowing the setting. I have to see it to write it, right?

I prefer smaller town settings, in part because a sleuth can know a variety of people well. In a city, people  know their corner, so to speak, but it isn't possible to be familiar with the mayor and most business owners or know which are truly the best restaurants or best places to buy groceries. There are too many options.

I like to create characters who have a command of their environment. That can be in a beach town, midwestern community, or mountain town. While the settings are in my imagination, they model real places.

River's Edge, the Iowa town in the series of the same name, is drawn from several towns along the Des Moines River in Van Buren County, Iowa. The photo is of a boat ramp in Farmington. Those towns were too small to let character Melanie Perkins find enough crimes to solve, but the sense of community is the same.

Though set at the Jersey shore, Ocean Alley is a combination of several beach towns in Maryland and Delaware. As a teenager, I watched cotton candy being spun on the boardwalk and visited countless souvenir shops looking for the perfect conch shell. 

Some things I consider when developing a new setting are:

• Can I imagine myself walking through a town or along a trail in the woods?
• Can the town grow with a mystery series? 
• Will I enjoy learning more about the kind of place so I can create the fictional place?
• Are there enough opportunities for a sleuth to not only thrive but find problems to solve?

Right now I'm working on a new series that I wanted to be near water, but where? Suddenly I did a true forehead slap. Why haven't I set anything along the Chesapeake Bay? I owned a cottage there for five years! It's underway. I can taste the crabcakes.

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To learn more about Elaine, visit her website or sign up for her newsletter.

Engaging with Local Readers

By Elaine L. Orr

After moving several times over a ten-year period, I found myself living in places where I knew no readers. I miss having a lot of friends who celebrate new books with me. I do meet new readers in new towns' local libraries, where I hang out to write and find audiobooks to read. 

What to do? These ideas may sound simple, but they require willingness to always put yourself out there.

1) Tell everyone you meet that you write books. It may not be the first thing you say in a grocery line, but anytime you talk to someone for more than a couple of minutes, work it into the conversation. 

2) Business cards are good, but I find simple bookmarks are better. I have one for each series -- just the name of the series, a few covers, and my website address. I keep them in my wallet and glove box. I think seeing sample covers is more memorable than the text of a business card.

3) Visit every bookstore within 20 to 50 miles, and leave bookmarks -- also a card for the manager. I never ask them to stock my books, but let them know they can be ordered through Ingram, and ask if they would mind if I let people know the store would be willing to order a book on request.

4) Make friends with librarians, and donate a book or two. I donate large print books, because they will almost always put those in their collections. This also gets your book in the Online Public Access Catalog. This may be for the library, but it's more often part of a library consortium, so lots of readers can find your book if they are searching by a category.

5) Watch for craft fairs during the holiday season. I sell a surprising number of cozy mysteries this way, but it's also better than paid marketing -- IMHO. People stop to chat. I say a sentence or two about what I write but never imply people should buy a book.

6) Don't stop visiting bookstores or libraries just because you've lived in a place for a while.

I plan to keep adding to this list. It's easy to get complacent, so part of what I'm doing here is lighting a fire under my writing chair. :) 

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To learn more about Elaine, visit her website or sign up for her newsletter.

A Good Resource for Writing Back Cover Copy

By Elaine L Orr

I am recovering from a shoulder replacement, which I know will help me in the long run. In the short run it makes me want to bop my head against the wall. But I don't think that would help the shoulder.

In the meantime, I thought I would refer you to an excellent article on writing the back cover blurb for your book. This is always a tough task for me because I feel as if there is so much to say and so little space in which to say it.

Lois Winston always has a succinct way of providing information. In this case she is writing on George Cramer's blog, but you'll also want to go to her own site, which is referenced below the article.

https://gdcramer.com/2025/09/18/lois-winston-3/

Her five steps for thinking through the blurb are practical and to the point.

Here is to a day of successful writing!

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To learn more about Elaine, visit her website or sign up for her newsletter.

Avoiding He-Said and She-Said

By Elaine L. Orr

It goes without saying (but I will) that authors want readers to know who is doing the talking in their books. There are ways to do that well and ways to distract your reader from your story by doing it clumsily.

A couple of points.

1) If you have to ascribe conversation to a character, consider doing it by beginning the segment with action, then have the character speak. For example:

I didn’t smile. “Those aren’t ready yet. How about a pumpkin muffin? You can pay me tomorrow.” 

From the kitchen, Linda called, “Always a pleasure for a good customer.”

2) The similar option to avoid is using action and also specifying who said something. 

Mr Hawthorne," I said, taking a hammer from the toolbox, "it's time to find that box of nails."

3) It is often appropriate to simply say he said or she asked. I use this at  least a couple times in each chapter when writing in first person. I asked, I said.  The key is not to do this many times a page. Or designate the speaker by name, just not every time.

4) Clarity is key, of course. When two people converse, a reader can follow who said what for a number of lines of dialogue -- as long as each person's dialogue begins a new paragraph.

5) When more than two people converse, it's important to ascribe almost every person's speech -- within reason. If one character asks another a question and they answer, it's generally clear who replied.

6) My personal pet peeve is authors who try to convey emotion when designating the character talking. This usually involves adverbs, the bane of good writing.

"It's time to go to the parade," Jan said, gleefully.

"Funerals always make me cry," I said sorrowfully.

Remember the adage, show don't tell. Jan can turn a somersault to show her glee.

By the way, when it's your book, do what you want. Just keep the reader in mind.

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To learn more about Elaine, visit her website or sign up for her newsletter.