Tirumala Venkata Devaraya grew up surrounded by stories, some passed down through generations, others etched in the stones of Anegundi, the historic seat of the Vijayanagara Empire. As a 20th-generation descendant of Sri Krishnadevaraya and heir to the Anegundi Samsthanam, Tirumala has always had one foot rooted in history and the other reaching toward the future. Armed with a History degree from Durham University, England, he blends academic curiosity with a passion for storytelling. In a conversation with CE, he opens up about his debut historical fiction novel, In The Empire of The God King, which delves into the politics, people, and pulse of an era that shaped South India.
What motivated you to start writing?
I’ve always loved writing. As a child, I would create short stories, comics, and picture books. This novel is the first full-length work I’ve completed. I began writing it during my final year at university, once I had some time after completing most of my assignments. A module on the Vijayanagara Empire I took earlier greatly helped with my research. I finished the first draft in about seven to eight months.
What inspired this story?
The choice was obvious, growing up in Anegundi, surrounded by monuments and hearing stories about Vijayanagara, left a lasting impact. The era is rich with political drama, intrigue, and remarkable characters, perfect for a historical fiction novel. I’ve always wanted to write, and this felt like the ideal subject for my first book.
The novel features cities like Vijayanagara and Bijapur. How did you balance historical accuracy with creative storytelling?
The setting and key historical figures — Krishnadevaraya, Ramaraya (Venkatapati Raya), Tenali Ramakrishna, and the Sultan of Bijapur — are based on recorded history. But for lesser-known figures like Kamal Khan, a Bijapur minister involved in a coup, there’s little detailed information, which gave me room to creatively shape their personalities while staying true to the broader historical context. The protagonist is entirely fictional, which allowed me to build a narrative around real events without altering well-documented history.
How did you access historical details, especially for lesser-known characters?
Many figures are briefly mentioned in period records and chronicles. I relied heavily on works like A Forgotten Empire by Robert Sewell, History of Mysore by C Hayavadana Rao, and archaeological studies by George Michell and John M Fritz, including Hampi Vijayanagara. These often cite accounts from Portuguese, Italian, and Persian travellers like Abdur Razzaq. I also delved into some original texts to cross-reference details.
You’ve also been involved in philanthropy. Has that influenced your writing?
Absolutely. Working with organisations across different countries exposed me to diverse communities and ways of thinking. It shaped how I write characters, making them more multidimensional. I even participated in an archaeological excavation in Nepal, handling artifacts nearly 1,800 years old. Experiences like travelling to Machu Picchu or being part of the Green Party in the UK also taught me that, despite our differences, people everywhere share common hopes and struggles. That awareness deeply informs my storytelling.
History can be intimidating to some readers. How does your novel appeal to modern audiences?
That’s exactly why I chose fiction over nonfiction. A story can make history accessible and engaging. While the backdrop is historical, the themes — power, loyalty, personal growth — are timeless. It’s written to capture the imagination of readers who might not usually pick up a history book.
The book also explores justice. How did you approach this theme?
Justice, loyalty, family, and self-discovery are central themes. I drew inspiration from the writings of Krishnadevaraya himself. One of his edicts said, ‘A king must listen to the cries of the destitute...If the king keeps the welfare of the people in his heart, the people will care for the welfare of the king’. That philosophy resonated deeply with me, and I tried to weave it into the story in an organic way.
The title In The Empire of The God King — what’s the significance?
Honestly, it came quite naturally. ‘God King’ is the English translation of ‘Devaraya’. So the title essentially means ‘In the Empire of Devaraya’. It’s simple, evocative, and connects both to the history and my own lineage.
What message do you hope readers take away?
My primary hope is to introduce more people to the history of Vijayanagara. But beyond that, it’s a story about personal transformation, about how universal values like justice, loyalty, and resilience transcend time. I hope readers connect with it emotionally while also learning about this magnificent period in our history.
You’re also working on a digital museum and pursuing further studies. Tell us more about them.
Yes, we’re working on a digital museum project for Hampi. But the goal goes beyond that, we want to revive Hampi’s cultural and spiritual significance. Currently, daily rituals (nitya puja) happen only in a few temples like Virupaksha and Mallikarjuna. We hope to expand that and also open temple spaces for classical music, dance, spiritual workshops, and cultural events.
We’re also working to support local livelihoods through traditional industries like banana fibre products and indigenous textiles, so cultural preservation goes hand-in-hand with economic sustainability.
On the academic front, I’ll be starting a master’s in Politics and International Relations at SOAS, University of London. I’m not aiming for politics immediately, but I believe that understanding governance and international relations will help me contribute more effectively to regional development. As for writing, the second book in this trilogy is already underway, and I’ve started another standalone novel about someone returning to India after years abroad, navigating the tension between tradition and modernity. I’m about 10,000 words in, it’s early days, but I’m excited to see where it leads.