Most of my friends know that I have a great love for lighthouses, and several years ago, two of my best friends, Roy and Donna Manasco, came across a small print of a painting by Steven Sundram, “Sureal Moments,” which focused on a lighthouse standing as sentry over a vast expanse of beach during a storm, and a beautiful solid white horse approaching the lighthouse. They bought the print for me and presented it to me as a gift on a Sunday morning at church. I was delighted with the scene immediately, and after arriving home with it, I sat and looked at it for some time before setting it aside to concentrate on my work. I was in the middle of writing two novels at the time, and they needed all my attention. So I had intended to work on one of them most of the rest of the day.
However, I placed Steve Sundram’s picture against the music rack of my keyboard, and sat down on the sofa across from it to eat some lunch. As I ate, I kept looking at the picture, and it literally drew me into it until my imagination began to build to the point that I felt I knew the place personally. Words began flowing through me, as if I were describing it in detail for someone else. I felt that I knew the people who lived there, who walked that beach and shared their lives on it. (Although they are not visible in the painting, they are there.) I even felt as if I knew the horse. I knew his name was Moondancer.
But I also recognized what was happening inside me: I was on the verge of birthing a brand new novel based on that picture. Now, at that time, I had already written six inspirational novels, three of which had been published and were currently on the market. However, every novel I had written previously had been born out of a specific story in my own mind — based on a particular character, problem, or theme. I had never written a novel that focused on a setting of any kind, and even my five-book series The Smoky Mountain Series, keeps the focus on the setting at a minimum.
So starting a book based solely on a physical setting was completely out of character for me. Furthermore, I scolded myself for even thinking about starting a new novel when the current books were still not finished. Immediately, I jumped up, walked over to the picture, turned it around backwards so that I could not see it anymore, and tried to finish my lunch.
But by the time I had finished eating, the descriptive passages flowing through my mind had grown into paragraphs. I fought off the temptation to sit down to the computer and pull up a blank page. I told myself that I absolutely had to finish the other work, one part of which was facing a specific deadline. But those words kept pressing through me. I managed to leave the room and do something else for several minutes, but before I knew it, I was back in the living room, turning the picture back around and looking at it again. I put it down and picked it up multiple times.
Eventually I began to get a handle on the main character — a man who had suffered serious emotional trauma and needed healing. A man who had made his way to this ocean, this beach, this place – in order to find peace and quiet, time and solitude, a touch of eternity — so that he could heal. At that point I didn’t know what he had suffered or what he was running from. Nor did I have any insight into what form and process his healing would take. I just knew that the story would be his story; he would be living there temporarily, and that the other people who lived there were going to have a significant part to play in his healing.
I fought the temptation and the draw of that painting until 3:00 in the afternoon, at which time, I sat down at my computer, pulled up a blank page, and began writing the novel Racing Toward the Light. Of course, it didn’t have the title at that point. But I wrote everything I saw and felt in that painting, and I didn’t stop writing until I had the lighthouse inhabited and the main character named Noah Bennet. I still didn’t know what his terrible past was or what would happen to him in the story, but I was determined to find out. And I can say, without any reservation, that I virtually lived in that painting for the entire three months it took to write the story.
Over the next two weeks, I realized two things: this story would take the bold step of dealing with the subject of the supernatural, which had been experiencing a resurgence in literature and movies at the time. Several conversations that I had with other people concerning the surge of interest in supernatural subjects, especially witchcraft and its effects, led me to realize that I had the rest of the story in that subject matter.
I’ve learned that when an author lets a story begin to tell itself on paper, he finds that it has within itself much more than he ever thought about when he wrote the first word. This story, conceived out of a picture of an unnamed place, built itself into a masterpiece that takes an intimate look into the world of the supernatural while, at the same time, allowing readers to follow the earthly characters as their lives relate to and are impacted by the supernatural realm. The story of spiritual warfare in both realms is sure to inspire and encourage faith in the readers.
Racing Toward The Light also gradually eased its way into a powerful love story. That’s the second thing I realized: that in every book, whether the author planned it or not, there is a love story just waiting to be told.
But now, to the second leg of this author adventure: When the book was finished, I wanted, with all my heart to be able to use Steven Sundram’s painting for the cover. I contacted him to find out what terms he could offer for the use of his work, and I must say that he offered me a very generous proposal. That fact, in itself, was a blessing. Nevertheless, I did not feel that I could afford to accept. I knew that even if I got my hands on that amount of money, I would feel obligated to apply it to a number of other necessities. In fact, even before I contacted Steve Sundram, I had worked diligently to try to create a “second-best” cover, using a friend’s picture of another lighthouse. It was not very satisfying, of course, but I knew it would serve the purpose if necessary.
However, unknown to me, a very dear friend, who had read and been intrigued by Racing Toward The Light — and who had done a thorough job of editing it for me — had been meditating on the fact that this painting had been so powerful that it had ignited the spark that became this bold and brave story. He felt in his heart that it was wrong for the book to use a “second-best” cover. His words were, “It would be an injustice for this book to have any cover other than the painting that inspired it in the first place — the painting you lived in all the time you wrote the story.”
He insisted that I stay in touch with Steve Sundram and not refuse his offer. I couldn’t figure out why he was so adamant that I continue to plan on using the picture that inspired the book, and I felt a little uneasy about continuing to communicate with the artist, knowing I did not actually have the money in my hands.
Then one day, about two weeks after I had begun to confer with Steve Sundram concerning the use of his painting, this friend, who insists on remaining anonymous, simply handed me the money necessary to purchase the rights to use the painting. Now this individual does not consider himself a Christian, but he was so touched by this Christian-themed novel that he wanted to be a part of sharing it with others.
Because most of the novels I write focus on truths from God’s Word as they apply to our every-day lives, I do believe that the Lord inspires most of what I write. And He has had to work out some problems along the way with the writing, publishing, and marketing of several of those novels. But Racing Toward The Light seems to me to be the recipient of an extra amount of the Lord’s intervention. I consider the original gift of a painting that captured my heart so completely — and the outright gift of all the finances necessary to purchase rights to the painting for the cover — to be proof that the Lord has taken a hand in bringing this book to the reading world. The book was first published in paperback in 2009, and it has been available on Amazon in paperback and digital for the past four years.
Writing Racing Toward The Light was truly one of my greatest adventures as an author, and, personally, I believe it offers an adventure and a great blessing for everyone who reads it.
I’m offering the E-Book version of Racing Toward The Light at a special discount price of $0.99 for the rest of the month of October. The price is good from now until midnight October 31, 2020 (U. S. Central Standard Time). If you don’t own a Kindle, Amazon offers a free Kindle app for any device when you order the book.
You can find your copy HERE and start your own adventure with Racing Toward The Light.