Love Beyond Eros follows a man whose disappearance from a remote Greek village, following a painful turning point in his relationship, quickly becomes a dangerous life-or-death mystery. What is the most challenging aspect of writing a series?

Apart from trying to keep the reader attracted by mixing action, drama, and humour, for me the most challenging aspect was to keep the characters’ arcs real and growing. The series has multiple secondary main characters which are vital to the story, but also a large number of other characters which had to fit the story whilst, in a short time, showing their own traits and character arc growth. Even more challenging was the fact that the main character and the secondary main characters were based on real-life cases because I had to fictionalise aspects to hide their true identity, and I had to balance real-life events with fictionalised events.

The story suggests that love can require difficult choices and personal sacrifice. Do you believe sacrifice is an essential part of deep love?

In the normal day-to-day discussions or conversations, I agree with the statement that love requires sacrifices from both parties. However, in the non-discussional but very real world, those who find true love do not consider giving up something or giving priority to the other partner a sacrifice. When real love is present, there is no longer an ego. There is pure psychic fulfilment, which becomes an inner pleasure to prioritise giving rather than taking.

How do you decide when a story needs another twist or complication?

In my case, I wrote the story before knowing how to write a story. I wanted to pass the message again through my experience as a Hypno-Psychoanalyst, which proved case after case that sex is not the main or only ailment of psychological problems, as Sigmund Freud proposes. Case after case, the main ailment was love, even the misconception of love. Love within erotic partners, love within a family, parents, siblings, friends, and so on. Therefore, I had to keep the story interesting whilst passing real messages.

After writing the story, I had to learn how to write a story by studying the fathers of storytelling from Aristoteles to MaGee and other contemporary teachers. Luckily, I was within 80% of the correct storytelling architecture. But I had to go back and rewrite.

How I decided if the story needed another twist is that I imagine the story as the architect’s plan, which needs to be followed by a builder to construct a house or a building. Each room needs a door. So each section of the story has to have its own room with its own door. I looked to make sure each section of the story moved the story forward whilst completing its own mini architectural plan whilst simultaneously being a necessary part of the story. If not, I had to rewrite or introduce another twist or complication first to make it interesting for the reader to continue reading and second to make sure it fitted in the story whilst moving the story forward.

Therefore, a combination of factors: keep it interesting for the reader, make sure it is part of the architecture, and no sections missing, and be the step forward to the next section of the story.

What is one thing about Love Beyond Eros that you think might surprise readers?

That indeed there is such a level of true love very few believe exists these days.

If you were to ask me for more than one important thing that will surprise readers, I would say that whoever reads the trilogy will gain some level of love therapy. In fact, every time they read, they will gain more love therapy. Readers will heal many love-related psychological ailments that may affect them on a subconscious level.

Despite being a fiction story, the messages passed are real, based on real clinical cases.

The love secret is real, but the beauty of love is to be found without using the love secret.

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