Cover Unveiled for The Flames of Shadam Khoreh by Bradley Beaulieu

Art by Aaron J. Riley.

Bradley Beaulieu's series The Lays of Anuskaya perfectly melds Fantasy with skyfaring Russian and Persian influenced cultures amidst a chain of islands. The art above is for the third and final volume in the series The Flames of Shadam Khoreh showing Nasim at age 18. Here's the blurb:

The Flames of Shadam Khoreh begins nearly two years after the events of The Straits of Galahesh. In it, Atiana and Nikandr continue their long search for Nasim, which has taken them to the desert wastes of the Gaji, where the fabled valley of Shadam Khoreh lies. But all is not well. War has moved from the islands to the mainland, and the Grand Duchy knows its time may be limited if Yrstanla rallies its forces. And the wasting disease and the rifts grow ever wider, threatening places that once thought themselves safe. The Dukes believe that their only hope may be to treat with the Haelish warriors to the west of Yrstanla, but Nikandr knows that the key is to find Nasim and a lost artifact known as the Atalayina.

Will Nikandr succeed and close the rifts once and for all? The answer lies deep within the Flames of Shadam Khoreh.

The Flames of Shadam Khoreh should be out sometime in 2013, but I can't find a firm listing as of yet. Beaulieu is also running a Kickstarter for his first short story collection, Lest Our Passage Be Forgotten & Other Stories, which will contain 2 original stories placed in this world. It ends in less than 2 days so get in it while you can.

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Art by Todd Lockwood

Growing Pains: Lessons in Writing the Sequel

by Bradley P. Beaulieu 

Strangely enough, though I've written five books up to this point (along with a few abandoned novels), I hadn't written a sequel until I launched into The Straits of Galahesh. I'd certainly had ideas for sequels. As a Tolkien disciple, I think in trilogies, so I had always planned on writing more books after the ones I'd finished before The Winds of Khalakovo, but I also knew that my time would be better spent if I tackled new projects. Why? Because if I did write a Book 2, I couldn't sell it. I'd have to sell its prequel, Book 1, first. And that didn't really help when (at the time) I was trying to get my name out there, get that first big sale.

Having more poles in the water, in other words, was the wiser course of action.

So it wasn't until STRAITS that I'd really had the chance to work with pre-existing material and expand on it. In some ways, it was a really gratifying thing. I'd spent so long developing the world, the characters, the magic, the politics, and then writing the story, it was like coming home. Strangely enough, I didn't jump right from WINDS and into STRAITS. When I finished wrapping up WINDS, I started submitting it for publication. That is, it wasn't sold yet. And so, following my mantra of starting a new project, I began working on a science fantasy. I got about 1/3 of the way through the book when the offer for WINDS came through from Night Shade. I was sad to set this other project aside, but I had no time to waste. I was now under contract. So the project went into the drawer and I started where WINDS left off.

Like I said, it was a nice homecoming, but it certainly wasn't easy. No book is easy. You're constantly applying the lessons you've learned (and sometimes breaking them) or learning new ones in the process of writing of the next book. Also, so much has to change in the next book. The characters, the world, the situation (i.e. the plot) based on the conclusion of the last tale. So there are always a lot of new challenges, even in writing a direct sequel.

As a small aside, just to share one of the oddities of publishing, I was 80% into the first draft of STRAITS (and I certainly knew how the book was going to end) by the time WINDS finally hit the shelves. So while it may seem from the outside that the writer has time to take stock and make adjustments, we really don't. By the time enough reviews had come in to actually start forming a consensus, I was fully done with the first draft and well into the second. The wheels of publishing move slowly, my friends.

Still, even though I didn't have a lot of outside influence in the form of reviewers or readers to guide the writing of the second book, I certainly learned some things along the way. The first that comes to mind is just how hungry readers are for explanation. One of the biggest criticisms I had for WINDS was the fact that not much of the underlying magic is explained. I will readily admit that it's something that's haunted me ever since I got serious about writing. In the first complete novel I ever wrote, I went rather heavy on explanation. After reading some books on writing and getting real feedback from writers on the book, I realized how blatant I was being about backstory. Then the pendulum swung the other way; I pulled way back and often explained too little. I've adjusted since then, but I still err on the side of not over-explaining. Note that I say "over-explain" where most readers would simply say "explain." People want to know backstory. They want to know how the world works. They just don't want it front-loaded. They want to become interested in the world and the characters first.

This is a very delicate balance—teasing the reader with questions without giving them the answers—and when you do give the answers, you want to do it in such a way that more questions are raised. This is one of the basic keys to good writing, but also one of the trickiest to do well. You have to find the right balance. Complicating this is the fact that the "rules" are not always going to be the same for each story you write. Some stories will call for front-loaded exposition. Others won't. (Like those with a big reveal toward the end of the tale. The Sixth Sense, anyone?)

I'm so against simply "telling" readers that I resisted the suggestion to put in a summary of Book 1 at the beginning of STRAITS. It turned out to be a great idea that people have commented on liking, but at first it just felt, I don't know, info-dumpy. But of course the point of such a summary isn't to dump information, but to re-orient the readers of WINDS before they dive into STRAITS, and also to give brand new readers some sense of the story already told in the event that they come to STRAITS first.

While writing STRAITS I started to grow more aware of just how hard it is to write metaphysical stuff. (I don't know if this is a lesson, per se, or more of a lament.) In the books, I have one type of magic that's akin to telepathy. Certain women called Matri submerge themselves in drowning chambers—basins filled with ice-cold water—and project themselves astrally. This stuff is really hard to write in a compelling way. I'm glad that I did it; it's a unique form of magic, and I think it adds a lot of cool mystique to the story. But let me tell you, I'll be surprised if my next set of books have even a whiff of such stuff. It's not that I dislike it. It's that it's exhausting to write in a way that I feel will be engaging to readers.

The last thing I'll mention is actually not a lesson that changed my behavior, but reinforced it. Lessons don't have to be negative. They can be positive reinforcements of rules you haven't really grokked yet. Perhaps you'd been told about them but hadn't put them into practice, or perhaps they were lessons you stumbled across (things self-taught, in other words), but you'll find that some of your initial strengths get better over time as you see how well they're working.

One such positive lesson for me was that finding and occasionally returning to my "center" as a writer is a very useful tool. This is a difficult thing to explain because it encompasses things like confidence and instinct, but what I'm talking about here is to trust in that inner, writer's mind that sometimes knows better than your conscious, waking mind. There were plenty of times in Book 1 where I felt lost. Sometimes I just knew I wasn't prepared for the session, and other times I started to write but came across a major stumbling block. I would often step away from the computer when I came across these sorts of barriers, but I would feel pretty bad when I did so. I'd feel anxious and behind. I'd feel like a failure, even if it was only for a day until I picked up my virtual pen again.

But now, after seeing how wise those breaks were, I no longer worry about these little blips. I know that if I work at the problem, I'll eventually find a resolution, and it'll usually work out pretty well—if not in first draft then in the second or third. I did not, however, simply wait for the muse to return. I would use a set of writing techniques to help jumpstart my stalled progress.

The first technique was to backtrack. If I'm lost, it's often because I took a wrong path in the writing a page ago, or a chapter ago, maybe even hundreds of pages ago. In one book (this was a painful lesson to learn) I found I'd taken a wrong path very early on. I had to re-write a ton of that book, and it was something that plagued the pages until I eventually gave up on the novel. Now I'm pretty good at recognizing not only that I've taken a wrong path, but identifying the place where I have to start over. This is a really good skill for young writers to nurture, because losing your way is one of the most common problems writers face, even the experienced writer.

The second technique was to consider the continuum of the story—to look at what I had already, look at its trajectory, and compare it to the place I wanted to be by the end. Using this technique assumes, of course, that you have a decent idea of what the ending looks like. Not every writer does. I usually do, and this allows me to make informed decisions about the plot and the characters, not so that I can create a linear set of scenes toward some arbitrary endpoint, but so that I can craft character decisions and plot points that will create an interesting landscape over which the reader can travel. I don't always end up in the exact place I thought I would. In fact, I rarely do. But that ending I have in mind from the beginning of the story? It allows me to guide the plot in creative ways without letting things fall off the rails completely.

The last technique I used was to return to that place that got me excited to write about these characters in the first place. It might be some of the original glimpses I had when the story idea first came to me. It might be looking at period artwork that gave me some inspiration. It might be some passage that I'm particularly proud of. The point is to return to a place of pride, creativity, of drive. I find that if I can do that, it will often advise my choices, and often I'll take the proper one to move forward. Sometimes finding your way out of writer's block is merely about confidence in the story, and this usually allows me to remember just how cool the story is in my head. Then it's just a matter of getting it onto the page.

It was a long road to the completion of the second novel, and there were bumps and bruises along the way, but it was all well worth it. I'm very excited to finally share the second installment of The Lays of Anuskaya, and I sincerely hope you enjoy it.


Bradley P. Beaulieu is the author of The Winds of Khalakovo and The Straits of Galahesh, the first two books in The Lays of Anuskaya trilogy and co-author of the novella Strata. In addition to being an L. Ron Hubbard Writers of the Future Award winner, Brad's stories have appeared in various other publications, including Realms of Fantasy Magazine, Orson Scott Card's Intergalactic Medicine Show, Writers of the Future 20, and several anthologies from DAW Books. His story, "In the Eyes of the Empress's Cat," was voted a Notable Story of 2006 in the Million Writers Award. His website is www.quillings.com.

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REVIEW | The Winds of Khalakovo by Bradley P. Beaulieu

Among inhospitable and unforgiving seas stands Khalakovo, a mountainous archipelago of seven islands, its prominent eyrie stretching a thousand feet into the sky. Serviced by windships bearing goods and dignitaries, Khalakovo's eyrie stands at the crossroads of world trade. But all is not well in Khalakovo. Conflict has erupted between the ruling Landed, the indigenous Aramahn, and the fanatical Maharraht, and a wasting disease has grown rampant over the past decade. Now, Khalakovo is to play host to the Nine Dukes, a meeting which will weigh heavily upon Khalakovo's future.

That's right windships, don't call them airships. Steampunk this is not, but Epic Fantasy of a grand, beautiful, and political scale which uses an elemental magic with wielders of wind and fire taking predominance. The main pitch for The Winds of Khalakovo is Westeros meets Earthsea, which is pretty on-the-money if you add "through the lens of Muscovite Russia" to the end.

Debutist Bradley P. Beaulieu has created an immersive world with The Winds of Khalakovo. Great detail is paid to the world-building blowing life info what could be seen as just a world nearly covered in water yet hides so much more with uncharted islands, hidden refuges, and nefarious political machinations.

Beaulieu doesn't just leave it to one world though as he shows glimpses of an ethereal realm just as interesting and delves deep into the nature and mechanics of his magic and how they are intertwined with the world.

Even amid all the Fantasy it is the characters who you'll remember the best. Each goes through torn loyalties all for believable reasons. The action surrounds Prince Nikandar Khalakovo for the most part as he is thrown into the middle of everything unknowingly, but once he starts he cannot stop as the life and honor of his Dutchy are at stake. It is through his eyes we get to partake of the beautiful culture Beaulieu created with all the Russian touches on politics and even garb, which showcase the prose that was at points very poetical.

The region is ruled by a hereditary line of Dukes with each claiming a chain of islands for themselves, but governed by one Grand Duke. But it is the Duchess's that truly control things as they can set the worlds elements to their will.

Cultures clash as Nikandar's landed people lord over an indigenous population who follow a path more akin to our Eastern beliefs such as the islands belonging to everyone while the Duchys of the world scoff at that thought and use numbers and force to control the lands. Obviously, this leads to escalating problems as factions within each are formed. Yet the Duchys must work with the other group as they are the ones who control most of the magic in the world and make travel and commerce possible.

The only complaint I have is the switching of POVs can be confusing at times, but you get the rhythm down after a while.  I almost wonder if the named chapter aspect from Game of Thrones would have been another element to pick-up on, especially as this story seems likely to widen its cast in the next volume of this proposed trilogy.

The Winds of Khalakovo is a satisfying entry into the Epic Fantasy fold that may seem familiar in some ways, but Beaulieu takes those familiarities and evolves them with his own unique and complex flair. I give The Winds of Khalakovo 8.5 out of 10 hats. The sequel in The Lays of Anuskaya series is titled The Straits of Galahesh will explore a region little seen in the first volume and should be out in April 2012.


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FREE FICTION | The Winds of Khalakovo by Bradley P. Beaulieu

Those of you with Nooks or the Nook apps can enjoy a free download of The Winds of Khalakovo until June 9th so get it while it is hot. This is a a wonderful Fantasy series that will certainly sate most fans of GRRM. Here is the blurb:

Among inhospitable and unforgiving seas stands Khalakovo, a mountainous archipelago of seven islands, its prominent eyrie stretching a thousand feet into the sky. Serviced by windships bearing goods and dignitaries, Khalakovo's eyrie stands at the crossroads of world trade. But all is not well in Khalakovo. Conflict has erupted between the ruling Landed, the indigenous Aramahn, and the fanatical Maharraht, and a wasting disease has grown rampant over the past decade. Now, Khalakovo is to play host to the Nine Dukes, a meeting which will weigh heavily upon Khalakovo's future.

When an elemental spirit attacks an incoming windship, murdering the Grand Duke and his retinue, Prince Nikandr, heir to the scepter of Khalakovo, is tasked with finding the child prodigy believed to be behind the summoning. However, Nikandr discovers that the boy is an autistic savant who may hold the key to lifting the blight that has been sweeping the islands. Can the Dukes, thirsty for revenge, be held at bay? Can Khalakovo be saved? The elusive answer drifts upon the Winds of Khalakovo...

Beaulieu also recently mentioned he is getting close to the end of the sequel The Straits of Galahesh, which should be out the first half of next year hopefully. Of course some edits need to worked on and he'll need feedback from his Editor at Night Shade before it is truly finished, but the bulk of the work is done.

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GUEST POST | Bradley Beaulieu on The Winds of Khalakovo and Cultural Influences

Hello, and thanks to the Mad Hatter for inviting me to stop by the blog. Michael suggested I might talk about the cultural influences in The Winds of Khalakovo, and I was glad he did, because it's something that's central to the novel and not something I get to talk about in depth too often.

The first culture people will notice in the book is Russian, more specifically, Muscovite Russia, the time of the Czars. One reviewer called it a Cyrillic culture, which I rather like. I've been asked a few times: why Russian? I can't really remember the specific, "ah-ha" moment, but I do know that the decision spring-boarded off of the world I'd already created. I used a mapping program called Fractal Terrains to generate the world. The program allows you to specify various things about a world—like the diameter, how much land area, how many moons, how hot, how arid, etc.—and it then calculates via fractals the various land masses. You can even regenerate the world with the same parameters, but new seed values for the fractals, to generate a new world.

I did this over and over until I'd found a loose gathering of islands that I liked. (If you're curious, you can view the maps here.) These became the individual Duchies of the Grand Duchy. I had already decided that the islands would be pretty inhospitable—cold, strong winds, and unmerciful seas—and these basic parameters reminded me of Russia. The western European histories we've all read a thousand times before held no allure for me whatsoever, but a Russianesque culture seemed like something fresh, so I decided to explore it further, and as you may have guessed, it ended up working well for the story I wanted to tell.

It was a lot of fun for me to fill in the culture. I always used the touchstone of Russia with her cold, hard winters for inspiration. The closest I've been to Russia is Helsinki, but the people there seem to be no-nonsense, do-what-it-takes sort of people. They have a warm side that is difficult to reach, unless you happen to have some vodka on hand, and then the dancing and singing can begin. The military was one of the places where the Russian influence shined. The long cherkesska coats and kolpak hats of Cossacks circa the eighteenth and nineteenth centuries made for a unique play on military forces of the islands.

I also liked fleshing out the political structure based loosely on the Grand Duchy of Moscow. Each archipelago has anywhere from two to ten islands. One unique aspect of the world is that the Dukes and Duchesses rule side-by-side. The Dukes fill the traditional role of ruler of the military might. They also work on trade agreements with the other dukes to further the interests of their Duchy and the Grand Duchy as a whole.

But the Duchesses fill a unique role. They are not just royalty, they are also Matri, women who submerge themselves in ice-cold water fed from subterranean springs to enter a dreamlike state in which they communicate with other Matri. The place they go is called the aether, and it lies between the material and spiritual worlds. Because of their unique abilities, and because travel between the Duchies is so difficult, the Matri are the medium through which the Duchies most often communicate. They hold as much power as the men. In effect they run the business of the Duchies, including arranging for marriage, where the men work toward longer-term arrangements and accords.

The second culture that people will notice is Persian, or something akin to it. Some people have mentioned that the Aramahn and Maharraht in Winds remind them of the Bedouin culture, others Afghan. None of these is incorrect, as I was trying to capture not just one culture specifically, but a tapestry of subcultures. The Aramahn are a nomadic people. There are permanent communities, but they exist more as places for the Aramahn to land from their worldly travels and share knowledge. Like any large culture, it will eventually fracture, and this is seen in several different ways in Winds, from the ways in which they view the Grand Duchy to the ways that they view their lot in life.

Perhaps not so obviously, the belief system of the Aramahn is based off of Buddhism, not Islam. They believe in reincarnation and striving for enlightenment. It is their most fervent goal: to find oneness, if not in this life, then perhaps the next. When the people of the Grand Duchy pushed eastward onto the islands, however, it presented a problem. The islands had long been a refuge, a place of peace for the Aramahn, but the Grand Duchy—the Landed, as they came to be known—were ruthless in their pursuit of land and resources.

Many of the Aramahn merely accepted this and searched within themselves for answers to these troubling times. Others felt as though they couldn't take it anymore, and they fought back. These people became the Maharraht, a splinter group of the Aramahn who believed that they had to fight the influence of the Grand Duchy so that the rest of the Aramahn would not have to. They knew they were setting themselves back on their way to enlightenment, but they felt the price was worth it. If they could not reach enlightenment, then perhaps their brothers and sisters could.

The clash of these three cultures—Anuskaya and the Aramahn and Maharraht—is largely what The Winds of Khalakovo is about. I spent a lot of time fleshing this out ahead of time, and more time during the writing of the book, to really detail what each wanted, what they desired. But not only this. I wanted each of them to be imperfect. I wanted there to be exceptions—shades of the primary color, if you will. This, to me, is the most satisfying part of the book: the exploration of culture through the eyes of the main characters. The brightest scenes for me are where these things come head-to-head.

The last primary culture in the world of Erahm is not very present in the first book, but it's touched on here and there. I mention it because it becomes a major influence starting with Book 2, The Straits of Galahesh. The Empire of Yrstanla lies to the west of Anuskaya on the only large continent in the world. It is called the Motherland, the place from which humanity sprung. The Empire is a place that is somewhat feared on the islands, for her power is great, but she is currently embroiled in several wars on her western borders, and so for the time being Anuskaya is safe. In The Straits of Galahesh, we get to know the Empire much more intimately as she once again turns her attention to the islands she once ruled.

I hope that gives a bit of insight as to the influences of the cultures in The Winds of Khalakovo. If you'd like to learn more about the book, please visit my webpage at www.quillings.com. Again, my thanks for Michael for inviting me.

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