Alethea Lyons (ze/she) is a queer writer of various types of SFF, including the Seer of York series published by Brigids Gate Press, and a number of short fiction works published by Eerie River Publishing, Bag of Bones Press, and others. She’s also the British Fantasy Society Event Coordinator for Greater Manchester. She live in Manchester with her spouse, her little Sprite, a cacophony of stringed instruments, and more tea than she can drink in a lifetime. In this discussion, we ask Thea about her latest novel The Dreamwalker, how life has increasingly mirrored the dystopian nature of her series, the value of art in her books, the long-awaited entry of romance into her series and whose dreams she would like to visit—and much more!
Hi Thea, thanks for chatting. Your latest novel and third entry in the dark urban fantasy horror “Seer of York” series, The Dreamwalker, was recently released from Brigids Gate Press, and it’s the best one yet in my dubious opion (look out for a review of it on this site in the coming days). Can you give us a brief plot summary of this latest entry, and pitch the series for those who’ve not had the distinct pleasure of embracing its simultaneously eerie yet wholesome charms?
I think ‘eerie but wholesome’ is my brand. Set in a misty York, the series follows Harper, a witch, raised by demonhunters, who is trying to hide her powers from the authoritarian police. Together with her multi-faith scooby gang, she investigates arcane murders, but the deeper she goes into the magical underbelly of York, the more apparent it is that she’s on the wrong side.
The Dreamwalker centres around the liminal space of daydreams. With magic dying in an isolationist England, a foreign fae plants seeds of magic in the dreams of artists, and through them their audiences. Harper wants to save the possessed humans, who believe themselves to be the characters from their art. If the spell comes to fruition, it will destroy York. If she stops it, magic will die.
There’s several things about this entry, arguably the strongest yet, that leap out, but let’s start with a big one: for the first time in the series, we get some romance; not one but two romance plotlines, both queer, as one character explores the idea of romance for the first time and another embraces their newfound bisexuality. For this book, why did you stand up and shout (figuratively, I assume) “it’s romance time!”
It was more of a gleeful giggle so as not to wake the sleeping toddler. I love writing romances and I’d missed them. I deliberately didn’t put a romantic subplot in the first two books because I wanted sibling relationships to be the focus, however I think folk are well-grounded enough in the familial and platonic bonds of the series that I can introduce some romance without taking away from that. My characters also had a bit of a say in it. Harper, it seems, just needed someone who shared her passion for books in order for her to get past her awkward inability to flirt, and so her interest was piqued when that character crossed her path (or canal). Fionn has his literal ‘I’ll find you in every universe’ romance with a friend’s character he met during a writing group exercise.
Fionn, the dreamwalking cat/human whose character arc is endearing and tragic, often at the same time, takes on an even bigger role than in the last book as you continue to explore the self esteem issues and shame he suffers as a result of working for a manipulative magician. It’s an intense subplot; his experience of meeting someone who builds up his confidence for a change is as heartwarming as it is brutal when his new life is threatened. What does Fionn mean to you as a character, and why is he such a focus of this one?
Because I wrote book 2 first, Fionn’s always been a main character to me, even though he’s rarely seen in book 1. Only one person has identified all his little cameos. There are certainly parts of me in both him and Harper, but I think poor Fionn got more of my neuroses. I would like to stress that I have lovely parents, by the way. I didn’t grow up with a gaslighting magic trickster. I did grow up dealing with bullies at school and a brain that never seemed to quite fit in with my peers. Fionn’s perfectionism, low self-esteem, and feelings of being a bother come from my dark places. Mental health rep is important to me. Fionn is a hero despite being incapable of seeing it. I know a lot of people like that.
The second half of this book largely takes place in an incredibly realised, evocatively written and part-underwater Venice, which is cut off from the rest of the world and forced to hold supernatural criminals. I found these chapters fairly astonishing in their worldbuilding. Why Venice—what does the city mean to you, and how did you approach putting your own supernatural spin on it?
I’ve been fascinated by Venice since I was a teenager. It’s this incredible city-state of art, decadence and exploration. It’s also a masquerade maze of intrigues. I know I’m not the only fantasy writer who sees it as the perfect nexus for folklore and magic.
I was fortunate enough to stay there for nine days. My very first impression was disappointing. Venice’s finery is crumbling around the edges. My mom told me off for describing that bit. But every impression after my first was exactly how I’d imagined Venice would be. There is music in the air there and wind that tastes like nowhere else I’ve been. And there is blood soaked into its history. If there are fae creatures lurking anywhere, it’s in Venice.
The Seer of York has consistently had some strong themes and messages, particularly about embracing diversity and also standing up for the rights of minorities and immigrants. These are once again examined here, for example The Queen’s Guard breaching the civil rights of humans cursed by magic as well as the continuing persecution of Supernaturals, and the hate this breeds in the hated. But since your first book came out, it feels like these themes of immigration and diversity have become, in the Trump/Farage world and in the “woke backlash” reversal on things such as Trans rights, sadly more and more timely. What’s it been like to see your series become increasingly relevant as fact starts to reflect fiction?
It’s terrifying. Reading is political act, and I read a lot of dystopian novels. Things that were hyperbole in books designed to serve as a warning are now common news items.
When I started writing this series, Britain was in the claws of Brexit. Only a few months prior, there had been a bombing at the Manchester Arena. I lived a few blocks from the arena at the time, and I worked only a couple of buildings away. The aftermath of these events are part of the reason for the political leanings of the Seer of York series. I was managing a team that was about one third Muslim. Where most people in the call centre were afraid of another bombing, those members of my team were afraid of what a fellow Mancunian might do to them on the street. I walked one woman to her bus for over a week to keep her safe until she left the city centre. Another colleague asked me to pray with him since he knew I was a Christian. I wanted to write a book that showed my reality, not the prejudice just outside my door. The reality that people of different faiths and cultural backgrounds can work together, be friends, and that having those differences can be a strength.
The fact that this was nine years ago and things have only gotten worse is disheartening, but it’s also history. We have never achieved a point, as a society, where we recognise the benefits and joys of diversity. Someone is always looking for a scapegoat. I honestly don’t understand the mentality that people believe they are better because of their skin colour, who they sleep with, where they were born, or what they call God. I wasn’t born in this country, though I am British and have lived here since I was tiny. But when I point out to these people that my mom and I emigrated here, they say, ‘oh not you dear,’ and we all know what they really mean is, ‘because you’re white.’
Most of my ‘supernaturals’ were born in Britain, like many of the people that certain right-wing factions want to ‘send home’. Some are spirits of our rivers, our hills, our trees. Some are business owners and contribute to the economy. They are home. And even if they moved here, they’re people, and people should be treated with respect and be allowed to live without fear. I don’t imagine anyone who hates immigrants is going to pick up my book. They wouldn’t like it. But maybe some of the people who are suffering because of them will see a cast of characters who embrace diversity and know that there are people who are on their side.
Sorry, that was kind of long!
Part of the plot of this book involves attempts to address the issue of magic and its incursions which have created such a divide between human and supernatural. If you had the power to do one thing to solve the real-world divides of Britain today, what would you do?
That’s a tough one! If there was a way to stop lying, sensationalism, and hyperbole, that would be great. Newspaper headlines are misleading. I saw on recently that was something like ‘They’ve made a major change to your sick pay and haven’t even told you’ and that sounds conspiratorial and negative. The change is that you can claim statutory sick pay sooner than before, which is actually really good. How news is worded, and which news is reported on, has major sway. Both in mainstream media and in social media. There should be huge consequences for politicians and corporations lying, and they should have to put it right, even if it means going door to door to say ‘I lied and this is the truth’. I don’t know what the practical solution to the propaganda is, but George Orwell really hit the nail on the head in 1984.
This feels partly a book about art, both visual and musical… the main antagonist manipulating opera and theatre and paintings and using it as part of their plans, not to mention a new side character is an artist. Why the focus on art in this one?
Two reasons. Firstly, it’s something I love. As a writer, reader, and musician (and terrible sketcher), arts are my everyday life. For me, there is something akin to a dream in getting lost in my book or in a piece of music. When I was thinking about how people could be ensnared in this magical trap, and have an audience sucked in with them, arts were the obvious choice.
Secondly, arts are under attack. We’re devaluing them as a society (and you thought this was going to be break from politics). AI is one of the in-your-face causes of this, and I have another book on that topic. But it’s also the way we view art as a society, and I place a lot of blame for this on media. They’re building a community hub near where I live. It’s designed to be a place for art classes, theatre groups, dance groups, etc… There have been a surprising (to me) number of people who have taken offense at this. Comments online imply someone is trying to belittle them and that working class folk shouldn’t have this kind of stuff shoved on them. I’d like to introduce them to the Lowry. People also are surprised that I take my son to the art gallery, and have done since he was a baby. He likes the art gallery, it’s full of pretty pictures.
Why do we, are a society, not see the philosophical and emotional value in art? Possibly because arts teach empathy.
Thanks to the dreamwalker’s actions, the Opera House in York is closed, the art gallery is under investigation, and a bookshop has been destroyed. It’s a very physical representation of what AI, apathy, and lack of funding are doing in our world.
It’s also a book, even more so perhaps than the second one, about dreams and dreamwalking. Why the focus on dreams, and what is your relationship to your own dreams? That’s a weird question, so interpret it as you wish.
My passion is stories, whether written, sung, spoken, or illustrated. Dreams are stories, a way for our minds to release things that are crowded out. That can be sleeping dreams or daydreams. The Seer of York novels started with a dream, during the time I mentioned before, which was simply Harper’s household hanging out at home (yes, including Heresy) until some emergency thing came up and they went to fix it. As is often the case with dreams, only shreds remained in the wakening, but they stayed with me. Dreams are such a liminal space. It appeals to me as a writer and as a bisexual enby.
If you could walk in the dreams of a famous person, who would you choose?
This might be the scariest question of all. So many of our heroes turn out to be ugly people, and even normal people can have the occasional ugly dream. So I will preface this with not having gone down a 3 hour rabbit hole of research. However, Hayao Miyazaki does seem like a decent person and I agree with a lot of the messages in his films, as well as adoring the aesthetic. I reckon he must have some interesting dreams. Or on the dark side of the same coin, Guillermo del Toro. My impossible author dream would be to have him produce my books for screen.
You’re three books and one short story collection into this series now, with no sign of slowing down (I hope). How does the author and publishing experience change as you progress deep into a series, both good and bad?
I hate to tell you this, but the book I’m working on now is the last in the current series. That’s really due to the publishing process, and how readers seem to work these days. Whether true or not, the perception is that readers (and publishers) don’t trust authors to finish longer series. I’ve cut the Seer of York short from the books originally planned in post-it notes on my wall, though the individual book plots could form a second series one day if anyone wants it. I’m hoping more people will be willing to read if they know there’s a complete arc.
From the writer side, I’ve found each book more difficult. I think that’s partially the increasing complexity of balancing consistency and growth. There are more subplots and more characters as the series progresses. I have to be a bit more tactical in how I write a sequel than my usual chaotic method to writing a standalone or book 1. However, I enjoy the chance to stay with this world and characters. I really love them. So that’s the big benefit to my mind.
It’s hard to separate publishing a series from the changes in publishing in general. Especially being with a tiny indie press. The landscape has changed a lot in the two years between books 1 and 3 coming out. I didn’t even think to have an anti-AI clause in my first contract, signed in 2022, for example. But I also think publishing is becoming more accessible with the rise of small presses and self-publishing being taken more seriously. It makes marketing harder, but reading more fun.
Readers are the best bit. It’s bizarre to me that there are fans of my books. People I only met because of said books and some who are complete strangers I’ve never spoken to. It makes a bit of pressure, because I have to finish this series properly, for them as well as the characters.
What’s up next in the TheaVerse? The next book in the Seer of York? Any other projects? And are there any public events that fellow Brits can see you at discussing your work this year?
The Mistlings will be the fourth and final book in the Seer of York series (for now). I’m midway through writing that, though I’ve known where it was going since I was writing book 1. That’s a strange feeling. Once that’s with my editor, I’m going to polish up my dystopian high fantasy novel for querying, and probably self-publish my cyberfae novel. I’ll be announcing ARCs for The Mistlings later this year, and hopefully for cyberfae as well, so keep an eye on my social media (@AletheaRLyons).
I’ve got a few in-person events just past or coming up—an all-day indie event in Shrewsbury on May 23rd, a fantasy panel at the Trafford Libraries event on June 6th, and a queer event at Nottingham Central Library on June 27th. I’ll also be at FantasyCon in October and I’ve got some online appearances over the summer. I previously had my cyberfae novel due out with an indie press in June, I’d booked a few things. Even though the press closed their SFF branch, I kept the events and I’m always looking for more. If you’re a Mancunian reader, I’m happy to meet for a cuppa and sign stuff.
Thanks very much for the chat today, Ed. Politics and arts are two of my favourite things to witter on about. Also (and he’s not making me add this*), I recommend you check out Ed’s books if you like such things. I just finished Lightfall last week and now I’m eagerly awaiting Moonfall which comes out in June.
*(Ed: that’s exactly what someone under duress would say)
You can find more info on Alethea’s books, where to buy them and her socials on her website here
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