Spicy love affairs, intimate crimes, bristling politics, and yes, the probability of paramount war engulfs the picturesque novel Dubrovnik.

1. When I began writing my manuscript DUBROVNIK, a simply plot developed. I didn’t outline the
story or characters when I began writing, but having worked and lived in Dubrovnik, Croatia, I
understood many of the complications involved; like transforming from communism to
democracy and historical significance of property ownership. Gathering geographical and
cultural information about the area was easy. Romancing the locals in detailing their history and
present Croatian ethics was difficult.
I wanted realistic-fiction to be simple and preventative of Croatia culture. I also wanted the
novel to a picturesque adventure of small proportions that included petite clips of the topography
and personalities where a couple of plot twists would harness the interest of readers. Keeping the
dialog concise wasn’t a problem, and knowing a fast-paced story would maintain focus and
reveal the intricacies of relationships. I used Hemingway journalistic word economy and
understatements then expanded literary elements. I became lost in the front lines of the Croatian
war against the Serbians; neighbors against neighbors, relatives fighting relatives, and friends
undermining friends, but the significant portion of the story involved family ties and unnerving
friendships that endured the threats of destruction.
The fostered result of my research became a novel of enormous emotional complexity where
love-hate factors tangled like confused lovers, where property ownership decided the fate of the
future. Croatia has a magnificent historical heritage that spans over two thousand years. How
was I going to include such depth and intricate behavior of hundreds of generations of multi-
racial ethnic groups? I wasn’t, so what evolved is a living experience of what constitutes love
and hate, fear and aggression, passion and forbearance, life and death.
Educating myself in a few of the Croatian moral principles, their urban values and the younger
generation ideology, a simple and different approach detailed my explaining issues of friends,
neighbors, hate, love, peace and war were reoccurring subjects among the Croats, as well as
foreign interference. Two historical families surfaced as the main strength of the story; feuding
that ripped the families apart, loves that drove them crazy, hatred they experienced together and
the offering of outside help for resolution. I blender all that potency with the wrath of civil war;
killing the enemy at any cost while protecting Croatian heritage into realistic fiction. An
exemplary page turner titled DUBROVNIK unfolded. It turned into a personal education as you
might imagine.
Because the story inside Dubrovnik was emotionally heartwarming, and the co-protagonist
Alexander Crown so endearing, I decided to turn this story into the Alexander Crown trilogy.
The second book is titled “Vitruvian Man.” In Dubrovnik Alexander Crown was a mercenary
and because of that profession he has become a philanthropist, traveling the world searching for
finances to help his endeavors. The third book is titled Regeneration. Alexander Crown used his
medical research to discover the DNA genetic code that will regrow human body parts. He is
now considered humanities deadliest asset.