An accomplished writer with a particular love for science-fantasy, dark fantasy, dystopias, and folklore that take place at the intersection between technology and magic, Alethea Lyons has created a solid legacy around her work in various publications. Now, in honor of Women in Horror Month, I talk with her about her early interest in writing, her latest novel "The Hiding," and upcoming projects.
Me: Hello and thank you for taking the time to do this. First off, when did you get into horror and dark
fantasy topics?
Alethea Lyons: Hello! Thanks for having me. I’ve always liked fantasy that’s on the darker side of things. One of the first stories I wrote was based on a nightmare about witches living in caves. I don’t remember the plot of it, but I was six, so there probably wasn’t much of one. Horror is a relatively new genre to me. I joined a writing group in 2021 that is primarily made up of horror writers, so their works were really the entry point for me. Their influence also made my debut darker.
Me: Who were some of your favorite writers growing up? Do you try to take influences from their style with your own voice in your work?
AL: In late junior school/early secondary, a few favourites were Tolkien, Philip Pullman, Tamora Pierce, and quite a few classics. I wrote high fantasy for a while with the Tolkien influences, but reading Neil Gaiman in my late teens put me into writing darker, contemporary fantasy. With Pierce, it was just really great to see girls being knights and mages, and be every bit as good as the boys.
Me: What was the starting point of becoming a writer? Were you always into writing growing up?
AL: Like I said, my first memories of writing are from being about six. I also wrote a sci-fi story about a robot making unpoppable bubbles at about that time. My parents love reading and my dad is a writer, so I’ve always been encouraged to write.
Me: What is your writing process? How do you stay focused on writing?
AL: My brain goes into writing mode once I get started. I can lose hours that way and everything else fades. I often have some music on, but I stop hearing it after a while. I stop hearing anything else, too, based on the number of times my husband’s been talking to me and I’ve been away with the faeries. I do most of my writing at home on my laptop these days. There are times when there’s no substitute for paper and pen or some sticky notes, though!
Me: Is there any specific type of genre you prefer writing? Is there any style or format you find easier to get into even without a preference?
AL I mostly write fantasy in different forms, but I really enjoy writing genre crossover like fantasy with horror or science-fantasy. Almost always third person past tense, at least for novel-length stories. The subgenres of my different series are quite distinct from each other, but probably recognizable elements that are my writing voice and style. I like things to be atmospheric, for example.
Me: Having contributed to various short story anthologies early in your career, what tools and skills do you acquire working on those that transferred to future projects?
AL: It helps streamline scene-setting and character-building. How can I show x, y, or z in a couple of paragraphs, or even in one line? Quite a few of my short stories are either backstory for existing novels or things I’d like to work into future projects, so the short itself becomes a useful tool.
Me: What is the general process for getting involved in these projects?
AL: A lot of presses will put out a brief. For example, one of my stories is about a fire carnival and it was for a press that was doing a series of anthologies based on the elements. Personally, I find it hard to write a brief. I think my stories come out better when I write the story and then look for presses asking for something that matches. I have a story about the North Sea coming out soon that I wrote after reading some selkie lore. It’s in an anthology about immortals with an ethical bent, but I found that call after I wrote it.
Me: How did you settle on the plot for your novel “The Hiding?”
AL: It was a bit of a weird trip, actually. I wrote book 2 first, then realized it was a book 2. I needed to go back and see how this group of characters got together. The main plot of "The Hiding" stemmed naturally from the worldbuilding of hidden magic and secret police.
Me: Was there any special significance to making the characters embroiled with supernatural powers?
AL: There is a certain degree to which it’s allegorical. I write story first, but I do like my books to have a message wrapped up in that fantasy. In this case, that people’s differences might seem scary or incomprehensible, but if we take time to talk and understand each other, most folk just want a peaceful life. Differences make us stronger and should be welcomed, not hidden away or persecuted.
Me: Was there any part of your real self injected into the characters throughout the story?
AL: There are definitely things I have in common with some of them – violin music, enjoyment of libraries, certain ethical choices, faith – but also some things that are definitely theirs and not mine. A friend recently pointed out to me that one of the main characters in book 2 has some of my insecurities because I was talking just like him.
Me: Being the first part of the ‘Seer of York’ series, what other plans are in store for the upcoming additions to the story?
AL: Next up is a short story collection that takes place directly after "The Hiding" ends. I’m also in the middle of editing book 2, The Somnia, which delves further into Harper’s forgotten past. While each book will have its own conclusion and antagonist, there are some things that will build up. They’re very minor in "The Hiding," but they’re there! I’m also hoping to do some more short story sets.
Me: How did moving from short stories to full-length novels challenge your writing skills?
AL: I actually did it the other way around. The first time I wrote short stories, was to get to know the characters of the 'Seer of York' universe, but I’d already drafted three or four novel-length stories by that time. I didn’t start doing standalone short stories until well after I wrote "The Hiding." Moving to short stories was definitely a challenge. Trying to have something that worked as a plot with not a lot of backstory or time to explore it is tricky. I tend to start with vibes and see where it goes.
Me: How do you keep your creative energy flowing?
AL: By staying immersed in stories. There are a lot of things that give me little bits of inspiration – reading, music, games, travelling, and little day-to-day observations. When I’m writing, I find my creativity is aided by where I am and what I’m listening to. I recently took a two-day trip to York, where most of The Hiding is set, and it was incredibly energizing to walk around seeing it with an overlay of Harper’s universe.
Me: Lastly, being that this is our Women in Horror Movement, what special message do you have for any women out there looking to join in the industry in any capacity as you are one yourself? Thank you again for your time!
AL: I know some incredible women in horror publishing and every single one of them has suffered from imposter syndrome at some point. Even after they’ve gotten agents and publishing deals. Make friends, get feedback, and support each other, but don’t listen to the voice in the back of your head telling you that you can never be good enough. Everyone has it and it’s always wrong.
This interview ran as part of our 2024 Women in Horror Movement celebrations! Click the banner below to check out our complete coverage:
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