Steve Stanton is interviewed at Open Book Ontario

Publication: 
Open Book Ontario
Review date: 
10/10/2012

President of SF Canada and author of The Bloodlight Chronicles trilogy, Steven Stanton was interviewed by Open Book Ontario recently about the final book in the series, The Bloodlight Chronicles: Redemption

Open Book: Tell us about your new book, The Bloodlight Chronicles: Redemption.

Steve Stanton: In a future world when much of human experience is conducted in virtual space by avatars, a blood-transmitted virus with rejuvenating effects has become a black-market staple, forcing infected “Eternals” into protective enclaves. When their leader, Helena Sharp, begins to mysteriously degenerate, the entire Eternal community is thrown into chaos, fearing that their immortality has ended. Redemption is a multi-layered and multifaceted work that builds on the solid foundation of the first two books, Reconciliation and Retribution, in which romantic entanglements, strategic subterfuge and personal devastation propel the plot forward at a frenetic pace. On a thematic basis, the novel expands and culminates the central questions of the trilogy: Why is the universe so exquisitely engineered to produce the delicate balance of conditions necessary for life? What is the origin and purpose of consciousness, and what is the ultimate future of mankind?

OB: How do you go about writing a trilogy? When you began The Bloodlight Chronicles, did you know much about where you wanted to take the series and what characters you would focus on?

SS: The Bloodlight Chronicles had humble origins late last century as a short cyberpunk story, “Mark of the Beast,” that was expanded to novella length as “Superlight” and serialized in seven parts in a small American magazine. About ten years later, after a career in business, I reworked the concept into a novel manuscript, and based on the strength of that work, Canadian publisher David Caron offered me a three-year contract to continue the story into a trilogy. I had no idea where I was going and at no time did I work to a script or outline. I wanted to experience the first draft with the fresh intensity of a reader, not knowing the end from the beginning. The real work came during the rewrite stages, and I had engaging editorial support and sold two excerpts to paying markets, so I knew I had something special on the burner.