Welcome, travelers.  Today, as we journey into the Otherworld, we leave the ground and set our sights toward space.  That is because we will be spending time with a prolific sci-fi author who has already made a name for himself in the genre.  Join us as we drift off toward the stars and receive a message from the talented Jeremy Clift, who has just released his second book, Space Vault: The Seed Eclipse.

 

Tellest: Greetings Jeremy!  It’s very nice to be working with you again.  I had a really fun time reading your original book in 2024, and I was pleasantly surprised when I saw that you had a second one that was ready to captivate readers again this year.  I’m also very happy to be able to get to know you a little bit more and figure out how your life led you to storytelling.  And I’m excited to hopefully get a few more eyes on you and your work.

Jeremy Clift: Thanks so much! It’s great to be back. I really appreciate the warm welcome—and the continued support. Writing Born in Space was my way of grappling with some big questions about the future—questions about who owns our bodies, who controls technology, and what happens when corporations or artificial intelligences try to reshape humanity in their own image.

With Space Vault: The Seed Eclipse, I had the chance to go deeper: into identity, into space, into a battle over our genetic legacy, and into the heart of a mother’s fight to protect the child who may be humanity’s last hope. It’s been an incredible journey, and I’m thrilled to share more of it with readers.

 

T: It’s pretty standard for me to start my interviews with a foundational question.  To appreciate where someone is, you need to learn the path they took.  What I’d like to know is what it was that inspired you to begin creating.  Did you have a favorite author or storyteller growing up?  Or was there someone a little closer to home that helped foster a spark of creativity?

JC: I think my earliest inspiration came from my father, who told us creative stories on long car journeys. Growing up, I started out with adventures and thrillers, such as John Buchan’s Richard Hannay novels, like the 39 Steps and Greenmantle, Graham Greene, Somerset Maugham, and Thomas Hardy. Later, I also liked John le Carre and Freddie Forsyth. At school I had a very influential teacher who introduced us to Shakespeare, the language, rhythms, and ways of writing, the excitement of words. He would bang the desk and say to us:  “My message is that Shakespeare was the greatest genius of all time.” A bit frightening, but indelible! I can still recite passages that he taught us!

I got to science fiction later in life. I delved into books by Ray Bradbury and Arthur C. Clarke, later Andy Weir—but I was equally inspired by real-world science journalism. Before I turned to fiction, I was a journalist myself. That background gave me a deep respect for research, but also for the human side of every story.

For me, science fiction is akin to journalism extended into the future: it’s the first draft of what might be.

 

 

T: I also have some journalistic history behind me, so it’s great to see another person who treaded that path.

Whereas journalism is the pursuit of the truth, I feel like writing fiction of any sort is like finding the truth in the make believe.  When you’re writing your stories, are you dictating where the story goes, or are you discovering it as you develop it?

JC: That’s a great way to put it—“finding the truth in the make believe.” I think that’s exactly it. When I’m writing fiction, especially science fiction, I’m constantly walking that line between structure and surprise. I usually start with a strong sense of the world, the stakes, and the key emotional arcs I want to explore. But I don’t outline everything rigidly. I like to leave space for discovery—for characters to push back or for a scene to evolve in a direction I hadn’t planned.

That happened more than once in Space Vault. A character like Shiko, for example, started as a supporting role but ended up carrying part of the book’s emotional heart. And sometimes the technology or political backdrop shifts too, based on new research or world events. So, while I’m guiding the story, I’m also listening—to the characters, the science, and the moral questions that start to emerge as the world takes shape. That’s where the “truth” often surfaces—not in the plot I planned, but in how the characters respond to it.

 

T: Since real life evolves so rapidly, elements of science fiction can sometimes feel outdated just a few years after publication. Take the original Star Trek, for instance—some aspects now feel dated, even though we’re still well before its fictional timeline. Blade Runner is another classic where reality has outpaced certain imagined futures.

Do you worry that your concepts might one day feel out of place? Or is that part of the joy of speculative fiction—that it captures the hopes and anxieties of its own moment, regardless of future developments?

JC: It’s a great question, and honestly, I think that tension is part of the beauty of science fiction. I’m less worried about being “wrong” than I am about being relevant. These stories are time capsules—they reflect what we fear, hope for, or struggle to understand in the present. So, if something I wrote feels dated one day, that just means we’ve moved on—and maybe, in a small way, imagined our way forward.

 

 

T: You and I have worked together before, promoting your book Born in Space: Unlocking Destiny, which is the debut title in your Sci-Fi Galaxy series.  There’s been a lot that’s happened since then, including nabbing an award for that original book.  What’s been going on since June of last year?

JC: Quite a bit! Born in Space found a passionate audience, which I’m grateful for—and it even picked up a few awards, as well as being featured in lights on a New York Times Sq billboard, which was a lovely surprise.

But even before it launched, I was already deep into Space Vault. As part of my research, I attended the wonderful Space Symposium in Colorado Springs and got to explore a space habitat and space rover firsthand.

The new book takes the story forward, exploring what happens when Teagan’s daughter, Diana, becomes the target of a galactic tug-of-war between corporations, AIs, and alien civilizations. I’ve also been expanding the universe of the series—working on side stories, refining future plotlines, and connecting with readers around the world. I had a booth at the Glasgow World Sci-fi Convention, and will be at this year’s WorldCon in Seattle, Washington. Come say hello if you’re attending!

 

T: I’m always interested in seeing how other writers are experiencing the various conventions they go to.  What’s your setup like?  How do you best find ways to bring people to your table, and what’s the experience like when you’re giving them the sales pitch?  Did you already have experience with shows like that, or was this your first time figuring everything out?

JC: Conventions have been a whole new adventure! I’d attended both the Frankfurt and London book fairs as a nonfiction publisher. But my background in journalism and publishing didn’t prepare me for the energy of a sci-fi con booth. I’ve done two, the North American Sci-fi Con in Buffalo, New York last year and the Glasgow WorldCon in Scotland and really enjoyed them. I kept my setup clean and visually engaging: a big, bold banner for Born in Space and my ElleWon publishing company. Plus I had postcards and QR codes linking to bonus content. Most important is a bowl of candy that draws in passersby, when energy is flagging!

As for the sales pitch, I try not to push. I ask people what kind of sci-fi they like, and if they’re into stories with strong emotional stakes, corporate dystopias, or future tech grounded in real science, I’ll tell them they might enjoy the Sci-Fi Galaxy series. The best part is the conversations—whether it’s with readers, other writers, or indie publishers swapping tips. I loved meeting some of the big names, such as Robert Silverberg and Adrian Tchaikovsky. The first conventions were definitely a learning curve, but I’ve picked up a lot. And I’m refining things for the WorldCon in Seattle. I’ll have branded pens and other giveaways.

 

 

T: What were some of the best conversations you’ve had with fans or other writers when you’ve been at these events?  Was there anything that sticks out to you?

JC: In Glasgow, one of the standout moments was an extended conversation with the legendary sci-fi artist John Harris. He just strolled up to my booth, and we ended up talking in depth about cover art—how it shapes a reader’s first impression, how it hints at a world before a single word is read. John’s work is iconic—he’s created covers for authors like Ann Leckie, Ben Bova, Isaac Asimov, and Frederik Pohl—so getting his perspective on visual storytelling was an unexpected gift.

Previously, at NASFIC in Buffalo, I had the chance to walk and talk with Alan Dean Foster, whose body of work spans decades and includes everything from The Humanx Commonwealth to novelizations of Star Wars. It wasn’t a formal interview—just a quiet, thoughtful conversation as we walked from the hotel to the convention center. He was generous with his insights on longevity in the genre and the changing landscape of sci-fi publishing. Moments like those stay with you—not just because of who they are, but because of how grounded and generous they were with their time and experience.

 

T: I spent a little bit of time on your website, and you really do have a handle on the marketing side of this stuff too.  For instance, you’ve got a few extra pieces of content in your Sci-Fi Galaxy series that folks can get hold of in a few different ways.  Can you tell us a bit more about that extra content that people can get, and how they get it?

JC: Absolutely. I wanted to offer readers more ways to involve themselves in the world of Sci-Fi Galaxy—and reward those who’ve joined the journey early.

On my website, readers can download two companion stories; the first one is about Hunter’s early confrontation with the magnate Howie Rich, in which he harvests Arizona rattlesnakes and uses them as weapons against Howie’s corrupt mining employees; the second is called “Collision in Space” and is an account of the Tritan crash on the moon and the interactions of the crew.

I also have a sci-fi blog which is gaining traction, particularly a recent article I wrote of the work of Chinese author Cixin Liu.

 

 

T: Liu is, of course, the author of the immensely popular book The Three Body Problem.  That’s sci-fi that has transcended mediums and found its way to the small screen by way of a Netflix adaptation.

In your perfect world, does your series exist solely as literature, or would you like to see it jump across mediums as well?

JC: I’d love to see Sci-Fi Galaxy cross mediums. Literature is where the ideas first take root, and I always want the books to stand on their own—but I think the universe I’ve created could work really well on screen or in interactive formats. There’s a cinematic quality to the lunar landscapes, the alien designs, and the biotech conflicts that I’d be excited to see visualized. A limited series, in the spirit of The Expanse or Silo, could do justice to the layered world-building and emotional arcs.

Born in Space is already an audio book, wonderfully narrated by Gabrielle Gumbs-Gordon, and I’ve had enquiries about a film version.

 

T: Since we’re in the sci-fi space, and we’re talking about how technology is going to change our lives, there’s a chance that even if your book doesn’t move forward in the traditional space in feature films, in the next decade or so, we may be seeing more people able to access tools to bring their world to life in different spaces.  With generative AI being as powerful as it is already, can you imagine a world where it’s used to develop the movies of creators’ dreams?  We’re already at a point where some rudimentary book trailers can be put together with very little technical savvy if you’ve got a little perseverance.

And then I suppose I should also ask, what do you think are the ethical ramifications of using generative AI as well?

JC: It’s an exciting—and complicated—possibility. I can certainly imagine a future where creators use generative AI to bring their stories to life in new ways, especially for things like trailers, animated scenes, or even experimental adaptations. The tools are evolving quickly, and they could be incredibly empowering for indie authors and filmmakers who don’t have Hollywood budgets.

That said, I think we’re still a long way from AI capturing the nuance and emotional cadence of a real human performance. That’s why I’m so proud that the audiobook for Born in Space is narrated by Gabrielle Gumbs-Gordon—she brings a depth and subtlety that no synthetic voice can match.

As for the ethics, I think it all comes down to transparency and consent. Are creators using AI to enhance their own visions or to mimic the work of others without permission? Are we valuing speed and convenience over originality and craft? The tools themselves aren’t the problem—it’s how we use them, and whether we remember that great storytelling still comes from human insight, not just algorithmic output.

 

 

T: Regarding your side projects, do you find that you worked on them primarily because they were good marketing tools, or did you find some good enjoyment in writing them?  Would you end up working on additional side stories that help add richness to your universe?

JC: The side stories are good marketing tools, but they started as a way to deepen the world for myself while I was developing the main arcs. However, I quickly found they were just plain fun to write. “Collision in Space,” for example, gave me a chance to explore the Tritan perspective in more detail without breaking the momentum of the main plot. And Hunter’s snake-harvesting story? That one let me indulge in something darker, grittier, almost Western in tone.

 

T: You seem to have a good idea of what stories should be told, based on your experience and your passion about the future.  Have you ever run into a situation where you didn’t know what to write, whether it was jumping into a new story, or just encountering a bout of writer’s block in your main writing?

JC: So far, I’ve been lucky—I haven’t really experienced full-on writer’s block. There are definitely moments where I need to pause and let the ideas settle, but I’ve found that movement helps. I get some of my best breakthroughs while walking, especially outdoors, away from screens. And oddly enough, listening to Mozart seems to unlock something—there’s a structure and flow to his music that helps me think in narrative rhythms.

I think part of it is that I’m not just chasing plots—I’m following questions that matter to me. That makes the process feel more like exploration than invention. So when I do get stuck, it usually means I’m not asking the right question yet. A walk, a little music, and a shift in perspective usually gets things flowing again. Having other things to do, such as in my case, pottery, is also useful.

 

 

T: Let’s jump into more recent events.  You released your second book, Space Vault: The Seed Eclipse, and it’s already looking like it’s performing pretty well.  What can you tell us about this latest book?  How did you end up coming up with the concept?  Was it something you were already working on while you were working on Born in Space?

JC: Yes, the idea for Space Vault was taking shape while I was writing Born in Space. I always knew that the story of Teagan and her children would expand beyond Earth orbit, into something much larger—both thematically and galactically. Born in Space is about claiming motherhood against impossible odds. Space Vault is about protecting what comes next: not just a child, but humanity’s future.

The lunar seed vault at the center of the book is a real-world concept—there’s one in Svalbard—and I reimagined it on the Moon as a contested site in a future where food, genetics, and survival are all up for grabs. Add in a genetically engineered child, alien diplomacy, and AI manipulation, and the stakes became planetary—and deeply personal.

 

T: While Born in Space was sci-fi at its heart, and it took place in space, it still felt pretty grounded.  Space Vault takes a giant leap forward, painting a broader blend of the familiar and the surreal.  Were there any worries about taking things that much further, or was it always part of the plan?  Do things continue getting wilder from here on out?

JC: It’s more of a progression than a giant leap. Maybe a leap in terms of space-time, but the basic concepts are very real and contemporary—identity, seeds, and who owns life. We are grappling with these issues every day. But the context makes them starker.

Born in Space has a tighter, more intimate focus: a mother’s struggle, a single space station, a very grounded sense of reality. But from the beginning, I saw that as the launchpad. With Space Vault, I wanted to expand both outward and inward—into more of the galaxy, yes, but also into the deeper ethical and existential dilemmas that come with human evolution, genome manipulation, alien contact, and post-Earth survival.

The goal was to maintain emotional realism even as the speculative elements grow bolder. We’ll have to see how the third book progresses. But it’ll still be grounded in the relationships readers care about—Teagan, Diana, the “Heavenly Babies,” and the question of who gets to define what humanity becomes.

 

T: A lot of the parts of relationships that we as readers tend to enjoy are the strengthening of them between the characters we care about.  But there’s also always going to be the dark side of storytelling, too.  Tensions, conflicts, battles.  Do you find either side more challenging than the other?  Do you enjoy exploring one side more?

JC: That’s a great question. I actually think both sides are essential to meaningful storytelling. I love writing the moments of connection, the quiet emotional beats that give the larger story weight. Those scenes where trust is built, or tested, or earned—that’s where character really reveals itself.

But I’m also drawn to tension and conflict, especially when it arises from ideology or impossible choices. It’s not just about battles or betrayals for their own sake—it’s about putting characters in situations where their values collide, and seeing what they’ll do.

The action matters more when it threatens something personal. So, for me, the joy is in the balance—letting relationships evolve naturally, and then seeing what happens when they’re tested by forces bigger than the characters themselves.

 

 

T: With two stellar sci-fi books under your utility belt, it would seem like a no-brainer that you’ve got more fiction work waiting in the wings.  Have you already been hard at work on book three in your Sci-Fi Galaxy series?  Any hints you can drop about what that might be?

JC:  I am! Book 3 will pick up some of the threads left hanging in Space Vault, but it also widens the aperture. Without giving too much away, let’s just say: we’re going deeper into questions about consciousness, coexistence, and the evolution of what it means to be human.

Teagan, Diana, and the surviving “Heavenly Babies” will all play a role, but they’re no longer just fighting for survival. They’re fighting for the shape of civilization itself, including how Earth harnesses space resources, and the issue of whether they are used for the benefit of all humanity or hoarded by the powerful few.

 

T: A lot of great sci-fi excels because it turns a lens not just to our future, but to what we’re experiencing in the present.  What do you think are the things that are absolutely corrections that we have to make regarding the world as we have it right now?  What do we do in order to make our future as positive as it can be?

JC: That’s one of the reasons I write science fiction—because it lets us explore not just where we’re headed, but what we’re doing wrong right now. If we want a livable future, we need to make urgent corrections in three areas: ecological responsibility, equitable access to technology, and the ethics of power.

First, we have to stop treating the environment as expendable. Climate collapse isn’t science fiction—it’s happening. If we don’t rewild, reforest, and reduce our impact now, no amount of space innovation will save us. Second, as AI, biotech, and space colonization ramp up, we need to ensure those technologies serve the many, not the few. Who owns the algorithms, the DNA, the seeds? That matters. And finally, we have to push back on the myth that progress is neutral. It’s not. Every advancement reflects values, and if we don’t define those values now—democracy, empathy, sustainability—someone else will, and they might not choose wisely.

To make our future brighter, we have to be brave enough to reimagine our systems—not just with clever tools, but with moral imagination. That’s what I try to explore in my books: the idea that the future is not inevitable. It’s something we get to build—if we’re willing to fight for it.

 

T: How do you think we pave the way for that possibility—a future in our hands—in the world that we live in today?  How does the little guy wrest control of our destiny from people far above us who might not have our best interest in heart?

JC: That’s the central struggle, isn’t it? The future isn’t going to be handed to us—it’s going to be shaped by the choices we make now, especially when it comes to who holds power and how they’re held accountable. I think real change starts with refusing to accept that the status quo is inevitable. That’s something I try to show in my books: even when the odds are stacked sky-high, individual courage and collective resistance still matter.

The “little guy” wrests back control through information, solidarity, and imagination. We have more tools now than ever—tech, communication, education—but we also have to be vigilant about how those tools are used. We need storytellers, scientists, organizers, and dreamers all pulling in the same direction, asking hard questions and refusing to look away.

And we need to stop chasing the idea of lone saviors. Most real change comes from communities, not heroes. That’s why, in Space Vault, even though Diana may be extraordinary, she doesn’t stand alone. She’s part of a messy, imperfect, deeply human resistance. And that, I think, is where real power lies.

 

 

T: Across the fiction that you’ve written, you’ve explored tons of character moments, and they’re far displaced from our time and our experiences.  Have you ever had one of your characters act completely differently to what you were expecting of them?  Did you have to rein them in at all, or did you let them run wild?

JC: One of the joys of writing is when a character surprises you—and refuses to behave. In Space Vault, Shiko was originally meant to play a smaller role, but he kept insisting on more agency. His arc—especially his journey to Lagos and his growing involvement with environmental activism—shifted the trajectory of the book. I’ve learned not to rein characters in too much. If they start pulling in a direction that feels honest and layered, I follow.

Sometimes that leads to the best moments—the ones I couldn’t have planned. I particularly love the Epilogue which has a poignant reckoning between man and machine. Readers must judge if the bot deserves it or evokes something closer to remorse.

 

T: As you’re also exploring the nature of AI, and robotics, and things of that nature in your fiction, how do you feel about the way that we’re currently using those sorts of technology?  AI as we know it is more generative creation than anything, but there is the potential for real intelligence—perhaps sentience intelligence—over coming years.  Do you have any thoughts or fears about such things?

JC: Those in the know, such as Nobel Prize winner Geoffrey Hinton and former Google CEO, Eric Schmidt, sound scared that we will lose control of AI. Certainly, we’re at a pivotal moment—one where the tools we’re creating are beginning to reflect back more than just data; they reflect intent, bias, and sometimes even imitation of empathy. Generative AI, as we’re seeing today, is powerful, but it’s still a mirror of us—trained on our language, our logic, our flaws. What worries me isn’t sentience just yet, but the illusion of sentience—systems that feel human enough to manipulate us, influence decisions, or be mistaken for authority.

That said, the trajectory toward more autonomous, potentially self-improving AI is very real. If we get to something like machine consciousness, we’ll be confronting questions that go beyond engineering and into philosophy, ethics, and even spirituality. Who decides what counts as consciousness? Who’s responsible for what these entities do—or suffer?

What worries me most is not the machines themselves, but the humans shaping them. Are we embedding compassion and accountability into the design? Or are we building systems to scale profit and control? In Space Vault, the AI presence—especially Zaun—reflects that tension. It’s not the machine that’s inherently dangerous, but the purpose it was built for. That’s the challenge we face in the real world too.

 

T: I think we’ve kind of seen that in the way that AI is moving currently.  We’re building things that may not be making life tremendously easier for the lay person, but it is making it easier for the incredibly wealthy to rush the build of content, to eliminate workforces, and, perhaps most frighteningly, to weaponize propaganda.

In a world where we could instill AI with the best features of a positive human influence, how do you imagine it would look?

JC: That’s exactly the paradox we’re living through—AI has incredible potential, but right now it’s largely being shaped by the priorities of power and profit. If we could redesign that trajectory—if we could embed AI with the best of human values rather than the most profitable behaviors—I think it could be transformative.

In a better world, AI would be trained not just on data, but on ethics. It would prioritize transparency over manipulation, access over exclusivity, and collaboration over control. Instead of replacing human creativity or labor, it would amplify it—helping us solve problems faster, see patterns we might miss, and make decisions with broader empathy and insight.

Imagine an AI that’s a steward of the planet, not a tool for extraction. One that protects the vulnerable, defends truth, and helps distribute resources more fairly. That kind of system wouldn’t just automate content or streamline workflows—it would model integrity at scale. But we have to build it that way, consciously. If we don’t ask who benefits from each iteration of AI, we’ll end up coding our inequalities into the future. That’s a big theme in Space Vault—technology doesn’t shape itself. People do.

 

 

T: You have a deep passion for the world of tomorrow.  What is one thing that you wish you could be alive to see centuries from now, when technology has improved and given us new possibilities?

JC: I’d love to witness a thriving, post-scarcity space civilization—one that’s managed to solve not just technological challenges, but moral and ecological ones too. Imagine orbital habitats powered by fusion, with humans, AIs, and post-humans cooperating, not competing. But more than anything, I’d love to see Earth healed. A future where we’ve rewilded large parts of the planet, where the damage we’ve done has been reversed, and where humanity sees itself as part of nature again, not outside it; where the moon economy and LEO is fully integrated with Earth. That would be a true milestone, more profound, I think, than a Mars colony, although the Mars colony will be more dramatic.

 

T: You mentioned some of the things that you’d love to witness, and they are beautiful goals for a world that is brought together.  What do you think are the struggles that we’ll have to endure to see those things come to pass?  What must we surmount to break through the barriers that stand in our way to that sort of integrated utopia?

JC: It’s definitely not going to be smooth! The biggest struggle we’ll face is overcoming entrenched systems of inequality. Right now, the same structures that concentrate wealth and power are shaping access to the technologies that will define the future. If we don’t challenge that—if we don’t democratize innovation—we risk carrying our worst habits into space and beyond.

We’ll also have to grapple with fragmentation: political, cultural, even psychological. As we become more globally connected, paradoxically, we also see rising tribalism and disinformation. Trust becomes harder to sustain. So building a cooperative future won’t just be about solving technical problems—it’ll be about finding shared values, even across deep differences.

And finally, there’s the internal challenge: fear of change. It’s human nature to cling to familiar hierarchies, even when they’re harmful. To truly reimagine the way we live—on Earth or elsewhere—we’ll need to develop a kind of moral courage. The ability to say: just because something is doesn’t mean it has to be.

I believe we can get there—but it’ll take more than tech. It’ll take imagination, empathy, and the willingness to let go of power when justice demands it. That’s the battle I try to dramatize in my books—because it’s not just sci-fi. It’s the human story.

 

T: I think we’ve seen that more often than not, the more material a person has at their disposal, the more they want beyond that.  Someone in control is rarely ready to voluntarily relinquish that control.  But as you said, it’s a bit of a battle.  More importantly, you also highlighted imagination and empathy in having them release those reins.  How do you think we begin to move toward that more equitable version of a technological future?

JC: It starts with redefining what power is. Right now, power is too often measured by accumulation—of wealth, data, territory. But if we begin to value collective wellbeing over individual dominance, we can start shifting the incentives. That means embedding fairness and accountability into every layer of our systems: in how technologies are developed, who gets access to them, and who gets to shape the rules.

Imagination is key, because without it, we’re stuck recycling the same old hierarchies in shinier packaging. We need to envision alternatives—open-source models, cooperative economies, ethical AI—not just as idealistic thought experiments, but as prototypes for real systems. And empathy is what keeps those systems human. It’s the check against abstraction. It reminds us that every algorithm, every innovation, ultimately affects someone’s life.

The battle isn’t just against the powerful—it’s against the idea that nothing can change. That’s why storytelling matters. When we imagine better futures, we make space for them to exist. And when we organize around those visions—with our votes, our voices, and our values—we start to pry those reins loose, one hand at a time.

 

 

T: What do you hope readers will take away from your books?

JC: I hope readers come away both entertained and unsettled—in a good way. These are thrillers and adventures, but they’re also thought experiments about the kind of future we’re creating right now. And at the core of it all, I hope people feel the power of love, resistance, and moral courage in the face of overwhelming systems.

 

T: Thus far, I don’t think we’ve talked about any of the things outside of this first universe you’re creating.  Do you see yourself writing any other books beyond the ones you’re working on in the Sci-Fi Galaxy series?  What kind of stories are you looking to tell?

JC: My main focus right now remains the Sci-Fi Galaxy series. I did write a Kelly’s Heros-style heist novel about Afghanistan a few years ago, but decided the time was not right to publish it! So, I’ll be sticking to this series for now.

At the heart of it, I think all my stories will keep circling the same core: how technology intersects with our sense of self, how we wrestle with systems bigger than us, and how love, memory, and meaning survive—even in the strangest places. I’ll always write about the future. But really, I’m just trying to understand the present a little better through the lens of what might be.

 

T: And through that lens, what do you think you see of the present?  Is there some positivity to be found, or is it more of a warning sign on a HUD with klaxons blaring in the background?

JC: It’s a bit of both, honestly. The klaxons are definitely there—climate collapse, corporate overreach, rising inequality, and the rapid pace of unchecked technological change. Those are real warning signs, and ignoring them would be irresponsible, both as a citizen and a storyteller.

But I also see moments of extraordinary resilience. Communities organizing, scientists pushing boundaries for the right reasons, people rethinking what progress should actually look like. We’re at a crossroads, and the future isn’t set—it’s being shaped in real time by our choices, our values, and our willingness to challenge systems that no longer serve us.

So, while a lot of my fiction carries a warning, it also carries a thread of hope—not blind optimism, but hard-won belief in the possibility of better outcomes.

 

T: You’ve obviously got some great things in the works, and you’re always finding new ways to delight and amaze readers.  We talked about it earlier, but where would the best place be for folks to find out more about your work, and to find out more about your universe and news about you?

JC: The best place is my website: www.jeremycliftbooks.com. You’ll find updates on new releases, including the audio book version of Born in Space, excellently narrated, as mentioned, by Gabrielle Gumbs-Gordon, reviews, free downloads, and background lore from the Sci-Fi Galaxy universe. I also send out my blog every few weeks. And I’m active on Instagram, TikTok, and LinkedIn—always happy to connect with readers, space nerds, and fellow dreamers.

 

T: Jeremy, I wanted to thank you for spending your time chatting with me.  It was great to pick your brain and learn more about your experience as a writer and a storyteller.  You’re already impressing tons of people, and I’m incredibly excited to see where things take you once book three is ready to hit shelves.  Thank you as well for letting us explore you a bit more as a person as well.  Hope you had a good time as well!

JC: Thank you so much—it’s been a real pleasure. I’ve loved the depth of these questions and the chance to reflect not just on the books, but on the ideas behind them. Writing can be such a solitary pursuit, so getting to have these kinds of conversations—especially with someone who clearly understands both the craft and the genre—is a real gift.

I’m excited for what’s next, and I’m grateful for everyone who’s come along for the journey so far. Book three is taking shape, and I can promise it’ll be a bold next step in the Sci-Fi Galaxy saga. Thanks again for the thoughtful interview—and for helping shine a light on stories that look toward the stars but never forget what it means to be human.

 

T: Once again, I’d like to thank Jeremy Clift for spending time with us and giving us more context on his expanding literary universe, and for drawing back the curtain and letting us learn more about him and his process as well.  We always feel fortunate to speak with busy, talented storytellers, and it sounds like Clift has got a busy schedule ahead of him with everything that he is working on!  If you’d like to keep up to date on everything the author has to offer, be sure to check out his website, www.jeremycliftbooks.com.  And if you’d like to get started on reading Clift’s excellent work, check out Born in Space: Unlocking Destiny (Sci-Fi Galaxy Book 1) on Amazon today!

 

Jeremy Clift is the author of the Sci-Fi Galaxy series, including Born in Space: Unlocking Destiny and Space Vault: The Seed Eclipse. A former journalist with a deep interest in space exploration, biotechnology, and AI ethics, Jeremy blends real-world science with gripping speculative fiction. His writing explores the future of humanity through the lens of corporate power, genetic engineering, and the enduring bonds of family. A graduate of LSE and the George Washington University, he lives in Charlottesville, Virginia. Learn more at www.jeremycliftbooks.com/about .