"Don't start reading this book on an evening when you have to get up early the next morning, because you're going to find it hard to put down!" – Nick Russell, author of BIG LAKE
"This story will not disappoint as it sucks you right into these lives from page one and doesn't let go until the last page is turned." – D. Everetti, author of PUNISHING
"Covert Dreams is "I got captured"-reading, as opposed to "escape"-reading." – George Wier, mystery and crime writer
"Covert Dreams had me from the gripping opening scene to the satisfying conclusion." – Dale Roberts, author of IRREFUTABLE
From the Author
COVERT DREAMS is set primarily in Munich and in Saudi Arabia, both places that I know very well. The locales I have drawn are authentic. The research I did to ensure that the settings are all real came from my own personal observations. I was a student in Germany, and I have probably traveled to Munich on fifteen separate occasions. I know the city like I know my own hometown. In addition, I was a professor at a university in Saudi Arabia, and I traveled extensively throughout the country, which I also know quite intimately. So what I had to do was to somehow link these two extreme cultural entities, the Bavarian ebullient nature and the Arabian ultra religious culture. What I finally came up with, after lots of thought, hard work, and many rewrites was to add an intriguing link between Munich and Saudi Arabia at the end of most chapters.
One of the two alternating stories mainly takes place in Munich, Germany, where a man who has been haunted recently by a series of lifelike nightmares is frantically trying to discover what is real, and who is who. The second story takes place in Saudi Arabia, where an American professor is frantically searching for his wife, whose very existence has disappeared. The first time I used this technique of linking the two alternating threads together to add suspense was at the end of the first chapter: "Time, gradually becoming their enemy, did a flip-flop, and the now became the then, dying, giving birth to what lay ahead, way beyond the present, biding its own good time, in total control, much like a German panzer unit moving across The Netherlands. Just like the power of Allah under the hot Saudi Arabian sun."
One other example of my using this technique comes at the end of a later chapter: "Then it happened. They were both emotionally wrought, and the fear was evident in the way in which they clutched one another, neither of them wanting to ever let go, the table--their whole world, in fact--shaking, much like a beer barrel polka in a boisterous Munich beer garden--or a sandstorm in the lonely Saudi Arabian desert."
I am delighted that my readers have found this technique of mine effective because I can tell you that I spent a lot of time making sure that the wording in each chapter ending of COVERT DREAMS was as strong as it could be.