Childhood Imagination Sows Seeds of Future Brilliance
Meet & Greet Lorhainne Eckhart on theOB
When Niamh Clune asked me to write something, about my passion for writing I was stumped. And it took me a few days to come up with something intelligent sounding, instead of “because it’s what I do, I write, I love to write, and I have a need to write, I just do it.” But seriously, its more than that.
I have a passion to tell a story, but I love to tackle issues within a particular story—issues that make people uncomfortable—stir passion, fire and outrage for a moment for a particular topic. I believe in the power of the pen, and you can accomplish getting your message out in the context of a story. Bad things happen all around us, so do good things–great things. And I believe we all learn from those around us. I write about what I would like to share in the context of a story. But make no mistake it is fiction.
I love relationship stories between and a woman, its something I relate too, and something I seek out in every novel I read. I weave complex plots into my novels. Struggles, controversy, and real life issues my flawed characters have to overcome, and sometimes not. I am not a Harlequin writer, what I write are complex plots tackling issues I put a great deal of research into. My genre is Women’s Fiction, although I’ve written two contemporary romances, The Choice, and upcoming sequel Lost and Found are Crime Fiction (mystery/detective) with an element of romance. Research is key to any great novel. Writing a novel takes me months to do, the research alone can take twice as long. I believe in getting your facts right, even though the novel is a work of fiction. The Choice took me two years to write, research, edit, rewrite and rewrite before publishing in July, 2011. I’ve currently three published novels. A fourth (young adult christmas story) scheduled for release November 15, 2011, which was originally written for the CBC literary awards in 2009. Lost and Found my fifth novel, and a sequel to The Choice will be published in December, 2011, just before Christmas.
When I sit down to write a novel, I don’t set out to write a happy ending. I write what the story dictates, the message that needs to be told for that story. I do outline my characters in detail. Their looks, distinguishing marks, how they talk, quirks, behavior, their background, tragedies that shape them into who they are. When I begin to write the story–the story takes on a life of its own. The characters become their own person and they dictate the direction of the story. When I sit down to write that story, whatever it may be, I don’t know what the outcome will be.
I reread my novels several times, put it away, start another story, then go back to my novel and clean it up before sending it to my editor who then goes through my novel with a fine tooth comb. I take in the criticism, the suggestions, the changes that need to be made to make my novel the finest it can be. The second set of eyes that points out pitfalls–problems are absolutely necessary for a well written novel. And I believe it was Stephen J. Cannell who said if you need to rewrite your novel eight times, Then do it.
About The Forgotten Child
…He wasn’t looking to love again. But what he got was a woman who shook his lonely bitter world upside down, and touched him in a way no other woman could.
Emily Nelson, a courageous young mother, ends a loveless bitter marriage and strikes out on her own. She answers an ad as a cook and live in caregiver to a three-year-old boy on a local ranch. Ranch owner Brad Friessen hires and moves in Emily and her daughter. But Emily soon discovers something’s seriously wrong with his boy. And the reclusive difficult man that hired her, can’t see the behavior and how delayed his son is. So Emily researches, until she stumbles across what she suspects is the soft signs of autism. Now she must tell him. Give him hope, and help him come to terms with this neurological disorder—to take the necessary steps to get his child the help he needs.
As their lives become intertwined, it’s unavoidable the attraction—the connection that sparks between them. And just as they’re getting close, Brad’s estranged wife Crystal returns after abandoning them two years earlier. In amongst the shock and confusion there’s one disturbing fact Brad can’t shake. How does she know so much of his personal business, the inner working of the ranch and Emily’s relationship with his son?
Crystal must’ve had a plan as she somehow gains the upper hand, driving a wedge in the emotional bond forged between Brad, Emily and the children. The primary focus for care and therapy of three-year-old Trevor is diverted. The lengths Crystal will go—the lies—the greed, just to keep what’s hers are nothing short of cold and calculating. Emily’s forced out of the house. Brad fights to save his boy—to protect what’s his. And struggles over his greatest sacrifice—Emily, and the haunting question—has he ultimately lost her forever?