Interview with Richmond Scott on Tripping Toward Mars
For Richmond Scott curiosity and intellectual pursuit has driven his path in life—from questioning authority, speaking out about injustice, his career in law, to his science fiction. Growing up in rural Illinois, he was captivated by space exploration, building rockets in open fields and devouring science fiction classics. But just as numbers and equations shaped his thinking, so did a sharp sense of justice. As a teenager, he started an underground school newspaper to expose unfair treatment of students, an early sign of the incisive perspective that now fuels his fiction.
His debut novel, Tripping Toward Mars, is equal parts hard science and biting satire, following astronaut Zachary “Addy” Johnson as he navigates a Mars mission unraveling under the weight of human fragility, political absurdity, and unexpected psychedelic therapy. Told through Addy’s legal testimony, the novel explores the strange intersections of space travel, bureaucracy, and the limits of human endurance—both mental and physical.
I spoke with Scott about his path to writing, the science behind his fiction, and the delicate balance between satire and sincerity in Tripping Toward Mars. Our conversation delved into the future of space exploration, the promise and perils of psychedelics, and what it truly means to be alone in the cosmos.
How You Got Here
Can you share a bit about your upbringing and how it shaped your desire for writing and science fiction? Where did your love of science fiction come from? Were there specific experiences, media, or other influences from your childhood that pushed you toward sci-fi?
I grew up in rural central Illinois, surrounded by endless cornfields and a dense forest. Aside from attending school five miles away, my childhood was largely isolated and solitary.
From an early age, I spent a lot of time alone, immersing myself in piano, drawing, and reading—including my fair share of comic books. I also wrote poems, stories, and even a mystery play, which was staged in my ninth-grade English class.
I excelled in math and science and became fascinated with space exploration after watching Star Trek and witnessing NASA’s rocket launches. That curiosity led me to science fiction classics like The Left Hand of Darkness and Rendezvous with Rama. Before long, I was building and launching my own rockets, taking full advantage of the open countryside. I even designed and assembled an instrument to measure their altitude.
By then, I was certain—I wanted to be a space scientist. But alas, my parents had other plans, steering me toward law school instead.
Tell us about Mrs. Erickson, and your high school experience in general. How was high school formative for you? What groups or cliques were you in? How have teachers influenced you (for good or bad) in your life?
Mrs. Erickson, my high school English teacher, was as witty and sharp as the towering blonde hair she wore piled atop her head. She was one of the few people in my early life who consistently praised my writing, offering the kind of personal validation I rarely received growing up. I still remember her telling the class that she could never write unless her desk was neat and uncluttered—a habit I’ve followed ever since.
By the time I started high school, my family had moved to the city, which made it easier to participate in afterschool activities. But I didn’t do many. I wasn’t part of the “in” crowd, though I had a few good friends in Rocket Club (of course!), Debate Club, and intramural basketball. I also played keyboards in a rock band—we were terrible, but it was fun.
More than anything, though, high school sharpened my sense of injustice. Studying topics like the Holocaust made me aware of systemic cruelty, but I also saw everyday injustices—unfair rules and teachers mistreating students (sometimes physically). That led me and a few friends to start an underground school newspaper to expose what we saw. Unfortunately, when my mother found out, she shut it down immediately—another injustice! (If she hadn’t, I might have become a journalist instead of a lawyer.)
Then there was another kind of teacher—let’s call him Mr. Cursemal—who wasn’t quite as supportive. He helped me with an experiment for a science project, though his mentorship came with a dose of impatience. My idea was to test whether the g-forces of a rocket’s liftoff would affect seed growth. Being in Illinois, we naturally used corn seeds.
For the experiment, we repurposed an old window fan, replacing the blades with wooden planks, each holding petri dishes containing seeds. When we turned it on, the thing nearly took off like a helicopter! Mr. Cursemal also gave me instructions on building a tool to measure the length of the germinated roots and compare them to a control group. Unfortunately, I messed up a little, and he balled me out.
Still, despite that hiccup, I went on to win the school’s Science Award that year—for a completely different project on crystal formation at the science fair. Go figure.
I have also encountered legal cases that leave me with an inescapable sense of indignation when powerful parties blatantly misuse their authority.
How has this sensitivity to injustice affected you in your life? I can see its influence in Tripping Toward Mars, but where else has this shown up for you? Have you carried that into your law practice, or other places in your life?
For me, the worst injustice is when the powerful mistreat those who cannot defend themselves. I'm especially troubled by physical disciplining of children and harsh treatment of animals, sometimes even intervening when it happens in public, despite the risk of worsening the situation. For over a dozen years, I volunteered at the National Zoo’s Asian elephant exhibit, educating visitors about these majestic, intelligent creatures, and how they’re being decimated by habitat loss and poachers. I have also encountered legal cases that leave me with an inescapable sense of indignation when powerful parties blatantly misuse their authority.
Do you think that the role of teachers and students has changed since you were in high school? In what ways? Are the technological changes in schools playing out the way science fiction authors imagined it? How can we get closer to science fiction ideals in education?
To me, science fiction embodies imagination, experimentation, and invention—all in pursuit of "what if" questions. It’s about embracing a creative mindset toward the future. I believe the STEM philosophy is one of the best approaches for applying these ideals in education—whether in schools, museums, science centers, or maker-spaces.
What led you to George Washington University and the writing workshops there? Have you had a career outside of writing and publishing? If so, what is it and how has it influenced your writing?
One day, I came across a flyer for the Jenny McKean Moore Workshop. At the time, I was working on a novel (not Tripping Toward Mars) and decided to apply. It’s a competitive-entry program, and I was rejected—twice. But as they say, the third time’s the charm.
About ten years ago, after practicing technology law for many years, I was fortunate enough to step away from it and focus more on writing. My legal career has deeply influenced my storytelling. All four novels I’ve written so far (Tripping Toward Mars is the first to be published) involve some aspect of the law, with courtroom drama playing a major role in three of them.
In Tripping Toward Mars, an astronaut, facing criminal indictment, writes a memo to his attorney, which makes up most of the novel. The final section unfolds in the courtroom. So, yes—my legal background has shaped my writing in a big way.
What is it like to have three novels "in the can," so to speak, and only publishing the fourth one? Had you shopped the others around or did you decide they weren't ready yet? Had you considered self-publishing them? And what kept you motivated to keep writing even if your first novels didn't get published?
Story ideas fuel my writing more than publication goals, though publishing is important. With a new space race in the spotlight, I prioritized getting Tripping Toward Mars published. I’m developing ideas for more sci fi novels. I have two historical novels and a legal thriller, one of which I’m shopping this year.
Writing Tripping Toward Mars
What motivated you to write a story about a manned mission to Mars and psychedelics? How does that idea capture your imagination? Were you influenced by previous work on this topic? How did the idea come about, and how did you develop the themes in the novel?
The idea for the story began with imagining the first crewed mission to Mars—specifically, that "Neil Armstrong" moment when the first crew member steps out of the lander and onto the Martian surface. I won’t spoil anything, but let’s just say that in my mind, there was something funny about the scene. And as I worked the story backward from that moment, the humor kept spreading into other elements, particularly how astronauts might handle the challenges of deep space travel—many of which stem from the sheer length of time it takes to reach Mars.
My research led me to the psychological effects of long-duration missions: the isolation from Earth, the vast distance, and the reality of being confined with the same small group of people for years. You can see where this is going. Couples in strong relationships—married or otherwise—might actually be ideal candidates for such missions. So, why not send two astronaut couples? And of course, they get along perfectly… until they don’t. There’s plenty of humor to mine from that dynamic.
But even in a well-matched crew, there’s no guarantee that everyone stays mentally and physically healthy for the entire journey. So what happens when one of them falls into a deep depression—and no intervention seems to work? What if it threatens the entire mission? That line of thinking led me to explore psychedelics as a possible solution—and eventually, the story came together.
Talk about choosing to write this as an epistolary novel. I feel like it added emotional depth to the story where we could see Addy’s reflections. What challenges and limitations did the format present? Were there scenes that were difficult to write and still keep this format?
The main challenge was that Addy, the narrator, is telling the story in the first person, past tense, and already knows everything that has happened. This creates the risk of "false" suspense—where tension is manufactured by unnecessarily withholding information from the reader. To avoid that, I used a framing device.
Addy is writing a memorandum to his attorney, which he includes in a letter to his ex-wife, Bria. His lawyer has instructed him to recount events in chronological order, detailing not just what happened but also his state of mind and what others said, as accurately as he can remember. This structure allows the story to unfold naturally, without forcing Addy to artificially withhold key details—a solution that also addresses two common issues I have with first-person narratives.
First, who is the narrator telling the story to, and why? Second, how can they possibly remember everything, including specific details and dialogue? In my novel, Addy has had time to reflect, reconstruct, and narrate events with precision—not for the reader’s benefit, but as part of a legal document.
A related challenge was introducing the inciting incident early in the novel—even though, chronologically, it happens much later in the overall timeline. The framing device helped bridge this gap, ensuring the story had momentum from the start while still staying true to its structure.
A few times we shift to Bria and João’s perspectives in a way that enhances their character development. Were these scenes planned out, or did you realize later that they were necessary to deepen the narrative?
Since Addy is the story’s sole point-of-view narrator, everything is filtered through his perspective. We only glimpse Bria and Joao’s inner lives through their expressions, actions, and dialogue as experienced by Addy. While some scenes were planned from the outset, much of Bria and Joao’s perspectives emerged organically during drafting and revision through their interactions with Addy, ultimately deepening the narrative
The World and Technology of Tripping Toward Mars
We start the novel in 2041, climate change is causing record high temperatures and hurricanes, and there is a growing political divide in the US fueled by populism. Is this setting a direct reflection of current events, or do you see this as an extrapolation of where we are heading in the next 15 or so years? (For instance, is “lowering the age for buying guns to twelve” a reflection on current policies?)
It’s both a reflection of current events and an extrapolation of our future—told through satire, at least that was my intention. For instance, the political narrative satirizes extreme right-wing ideologies. Since Jonathan Swift’s “A Modest Proposal,” exaggeration has been a hallmark of satire. Lowering the age to purchase guns to twelve is, of course, absurd; yet that’s exactly the point: it’s a joke you might laugh at, but one that carries a serious message about political extremism.
In the world of your novel, what are the causes of this political divide, and could you imagine what could heal them? We don’t really see any changes in the larger world because of the story, but can you imagine something that would unite the two sides?
I chose to show the political polarization in my novel mostly through the clash between “pro-science” and “anti-science” groups, for example, when it comes to climate change. As far as what could unite the two sides, if I were to keep things satirical, maybe it’s something like a “unity” presidential ticket that miraculously works because of a passion both sides share, such as a wildly popular series about stamp collecting that creates chemistry among its members. In all seriousness, I don’t claim to have the definitive answer—only that progress likely requires each side to develop greater compassion and understanding through genuine, good-faith dialogue, a challenging goal for many. Yet I can’t help but recall the satirical film “Don’t Look Up,” where even the looming threat of an asteroid destroying life on Earth fails to unite people.
The New Martians is a reality show being filmed about colonizing Mars. It highlights the intersection of entertainment, fame, and public engagement with science. What motivated you to include this reality show in the novel, and how do you believe it impacts the characters, particularly their experiences and decisions on their journey to Mars? What commentary are you hoping to convey?
The inspiration for that story element came from Mars One—a venture to send people to colonize Mars financed by a reality TV show. Similarly, the reality TV show in my novel serves as a major funding source and provides the would-be colonists with a diversion during their nine-month voyage to the Red Planet. I focus primarily on how the show affects Addy, the story’s main character and narrator, and his wife, Bria, as they navigate the choices involved in their journey to Mars. Ultimately, the show underscores the novel’s commentary on our culture’s obsession with celebrity—which, in a word, is ridiculous.
Talk about the research you did on Mars, how you went about it and what made you choose the locations in the novel. Specifically, Arcadia Planitia–what do we know about the possibility of ice there? What about the Chinese mission and their search for better water sources–is there research suggesting these might actually exist?
Based on radar data and thermal imaging, it appears quite certain that ice water exists on Arcadia Planitia—possibly just an inch below the surface, accessible with nothing more than a shovel. Its flat terrain makes it a prime candidate for human landings. Although other locations, such as ancient ocean beds that might still contain subsurface water, present possibilities, I chose Arcadia Planitia as the landing site for both the American and Chinese missions. The third mission, Q-Orbit, also targets this region. Grouping multiple surface missions in the same area, at least initially, could prove advantageous, as they could support each other if needed.
Food printers are an important technology for the survival of the crew on Mars, able to print diverse foods from cartridges of ingredients. It feels like we are really far away from technologies like this in the real world, but are we? What is the state of the art for food printing?
Good question! I intentionally left the technology to the reader's imagination. In my story, the inner workings of a "food printer" weren't as important as showing how it made the founder of Q-Orbit a multi-billionaire and demonstrating its almost limitless production capabilities—including martinis! This choice was made in service of the story's satirical tone.
There seem to be significant advances in life support technologies in the novel, from CO2 to O2 conversion, splitting water to Hydrogen and Oxygen, the DUFS (Direct Urination Filtration System), and more. What are the real-world advances that inspired some of these systems, and how far away do you think we are from some of these technologies
Bill Gates has supported developing new technologies that convert liquid and solid human waste into potable water, but I believe we’re still a long way from turning waste into food. In my novel, NASA experiments with “FM” (fecal matter) food, testing it on astronauts—but I won’t spoil things (or should I say, soil?) by revealing what happens next!
Specifically, talk more about DUFS. At one point in the novel we learn, “DUFS allowed one to relieve themselves with a specially designed funnel on the lettuce, cabbage, and potatoes…” That’s kind of hilarious! What were you envisioning here?
DUFS satirizes the spin-offs produced by the space program. The many spin-offs from the Apollo program that sent humans to the Moon—such as miniaturized electronics and cordless power tools—as well as innovations from other NASA programs, have yielded incredible benefits. However, some argue that new technologies can be developed through direct research and investment without the enormous costs associated with space exploration. I find that argument logically flawed, as the unforeseen challenges of space travel often catalyze innovations that would not have emerged otherwise. Nonetheless, whether spin-offs justify the expense of space programs remains an issue—and one that my satire playfully explores.
Focusing on Characters
Tripping Toward Mars is told in the first person, from the point of view of Zachary “Addy” Johnson. Addy’s voice is humorous and sarcastic, lending a levity to a lot of the novel and making it feel funny and lighthearted. Where did the inspiration for this character come from? How did his voice emerge during the writing?
Many astronauts have become known for their humor and swagger. Alan Shepard—the first American in space—famously played golf on the Moon. John Young, who appears in the book, is another astro-jokester. Chris Hadfield, who performed David Bowie’s “Space Oddity” on the International Space Station (a must-see video!), inspired the idea of astronauts in my novel forming a band called The Craters. Addy’s narrative voice emerges as everything is filtered through his perspective while he pursues his dream of becoming the first human on Mars.
Addy often uses jokes and sarcasm to cope with fear, isolation, and uncertainty; yet, reveals deep emotional struggles related to his family, particularly regarding the discovery of Nova and his grief over his mother’s death. How did you approach balancing levity and seriousness in the narrative? In what ways do you think this balance enhances the reader’s engagement with the emotional stakes of Addy’s character arc?
I strive to ensure every element in my novel serves the story, advancing the plot and maintaining its pace. No matter how good something sounds standing alone, if it doesn’t really contribute, I cut it. Addy, as the narrator, is present in every scene, encountering multiple plot layers and inciting incidents that force him to make choices that define his character arc. The central question (greatly simplified to avoid spoilers) is: What will he do to get what he wants? The short answer is that his journey is driven by emotional ups and downs, which propel the narrative. Much of what he says, feels, and does emerged organically during the writing process; at times, his character even took over the story, evolving in significant ways so that he wasn’t quite the person I initially envisioned.
As a medical officer and Addy’s wife, Bria is central to the crew’s dynamics and João’s treatment. How did you approach her character, and what do you see as her most significant contributions to the story, both in terms of her professional role and her personal relationships with the other crew members? What were some of the challenges in writing her character?
...when Elon Musk argues that “we” should colonize Mars, I find myself wondering what “we” will actually be by the time that possibility ever becomes a reality.
One challenge in writing her character was striking the right balance. I wanted her to serve as a partial antagonist for Addy—even though they're married and co-commanders of the first American surface mission to Mars, where cooperation is essential for survival. She loves him, yet she frequently finds herself at odds with both his past and present behavior. As every deep space crew needs a skilled medical doctor, Bria fills that vital role by addressing the physical and mental health challenges that arise during the mission—a story element I also approach with humor.
João Lobo is a complex character. His political background, family connections, and mental health issues influence much of the action of the novel. He feels great pressue from the expectations of his father, and the rise of the NAP political party and Dawn Bastbom. How does João’s relationship with his father impact his own identity and politics, and do you feel there is a larger statement about the influence of politics on families?
I felt it was sufficient to give Joao’s relationship with his father only a brief treatment—enough to illustrate why he’s so viscerally anti-NAP. This underlying tension creates friction with his wife, Sally, and later contributes to further complications during his journey to Mars. And yes, he ultimately serves as the catalyst for major turning points in the novel.
The interactions between João and Bria and other character are fraught and tense due to João’s mental state and political views. What do you feel are some of the key interactions in the novel, and what aspects of interpersonal dynamics are being highlighted here? How do the crew come together to support one another? As readers, what should we take away from these interactions?
The crew's key interactions center on confronting problems that jeopardize both their mission and their lives. Interpersonal dynamics manifest in two primary ways: the inherent antagonisms within each married couple, and the empathetic bonds—and even physical attractions—that develop among crew members toward each other's spouses. By using deliberate exaggeration while maintaining at least a semblance of scientific rigor, I satirize these interactions to highlight an enduring truth: no matter how meticulously a mission is planned, unforeseen problems will always arise, and the solutions to those problems may, in more ways than one, be truly out of this world.
On Mental Health and Psychedelics
Psychedelics play a major role in the novel, and the title Tripping Toward Mars can be an obvious reference to the use of this medicine. What was important to you about the use of psychedelics for mental health and self-discovery? Why did you want to tell a story about a journey to Mars that revolved so heavily around psychedelics?
I'm a big fan of Michael Pollan—his terrific book How To Change Your Mind examines the use of psychedelics to treat mental disorders and reveals a fascinating history behind their application. For instance, did you know that in the 1950s, Canada experimented with using LSD to treat alcoholism (PDF), achieving such remarkable success that it was widely hailed as a miracle cure? Then Timothy Leary came along, popularizing the drug and, in the process, derailing its potential medical use.
I've also always been captivated by the surreal, trippy ending of the movie classic 2001: A Space Odyssey (the subtitle of my novel, A Deep Space Love Odyssey, is a riff on that title). That’s how psychedelics found their way into my story, becoming a vital part of the narrative. They serve as a lens through which the novel explores mental health and the crew members’ journey of self-discovery—most notably for Addy, who ultimately learns what is truly important in life.
João’s struggles with anxiety and depression are significantly impacted by his use of psilocybin (Q-Pills) throughout the mission. What efforts did you make to portray his journey toward recovery in a believable way? How do you see the psychedelic experience influencing his character evolution and relationships with others, particularly with Bria and Sally?
Based on my research, psychedelic therapy isn’t as simple as taking a pill. Instead, it’s a guided experience led by a professional who carefully controls the dosage and supports the patient throughout the process. This method can produce positive outcomes rapidly. I illustrate this in the novel with Joao’s transformative experience, which creates significant ripple effects that influence Addy, Bria, and Sally, though I won’t reveal too much here to avoid spoilers!
Addy grapples with guilt over both his personal secrets and the pressures of leadership, which leads to complex emotions regarding his use of psychedelics. He is the voice of skepticism on the use of the Q-Pills. How did you approach portraying his internal conflict, and in what ways do you believe this interplay enhances the reader’s understanding of his character arc?
Addy, alongside Bria, serves as a mission co-commander where crew safety is paramount. Yet his innate curiosity fuels an internal conflict over the Q-Pills—a dilemma that encapsulates his risk-taking nature. His thoughts, emotions, and reactions to the risks posed by the Q-Pills, along with the myriad challenges of the mission, drive behaviors that ultimately define his character arc.
I hope readers will keep an open mind about the promising role of psychedelics in treating mental disorders.
The novel presents psilocybin as a therapeutic tool for managing mental health, but it also shows the complexities and risks involved. Given the characters’ varied experiences with psilocybin, how do you envision the discussions around mental health and psychedelics reflect today’s society? What message do you hope readers take away regarding the potential benefits and dangers of psychedelics in treating mental disorders?
I hope readers will keep an open mind about the promising role of psychedelics in treating mental disorders. Currently, such treatments remain illegal except for clinical research. Even if and when psychedelic drug therapies gain wider acceptance, they will likely be very expensive and remain out of reach for many who need them. I’m not particularly enthusiastic about the prospect of recreational use becoming more widespread through outright legalization, though I can see a trend developing in that direction—similar to what we’ve seen with the recreational legalization of marijuana
Final Thoughts
What are your hopes for the future of space exploration and how do you see Tripping Toward Mars contributing to the ongoing conversations about humanity’s drive to expand its presence? What messages do you want to leave with your readers as they close the book?
Space exploration holds an exciting future. In my view, the biggest space event of 2024 was the launch of NASA’s Europa Clipper, set to reach Jupiter’s moon Europa in 2030 and study the ocean beneath its icy surface for signs of life. I believe it’s widely accepted that humans will journey to Mars within the next 15–20 years. While most can envision a permanent scientific base on Mars in the not-too-distant future, full-scale colonization is an entirely different matter.
My novel aims to explore the underlying motivations of those passionate about Mars—whether driven by scientific curiosity or the dream of colonization—and to question how rational those reasons are, especially given the astronomical costs involved. That said, I firmly believe humans should venture to Mars, but not at the expense of forgetting that Earth remains our true home until we learn how to find and colonize exoplanets. In my humble opinion, by the time we achieve that feat—perhaps in 400 years—we likely won’t be the same kind of human beings (physically or, for that matter, psychologically) we are today. So, when Elon Musk argues that “we” should colonize Mars, I find myself wondering what “we” will actually be by the time that possibility ever becomes a reality.
What’s next for you? Now that Tripping Towards Mars is published, what are your goals moving forward? Do you have a next book in mind? What topics are you eager to explore next?
I have more sci‑fi projects in the works—including a sequel to Tripping Toward Mars. I’m particularly fascinated by the evolution of deep space transportation systems. In my view, developing propulsion technologies that decrease transit times to distant worlds is key to enabling firsthand human exploration. Imagine if we could reach Jupiter in just a few months instead of six years. Like many others, I’m also eager to delve into AI-related topics, moving beyond human‑robot relationships to speculate on robot‑robot interactions and the technical mechanics behind them.
I believe hard science fiction is the most compelling genre, especially in the midst of our accelerating scientific-technological revolution.
Speaking directly to the readers of Oxygen Leaks, fans of hard science fiction, what are your thoughts on the current state of the genre? What trends and directions in hard science fiction are you excited about, and are there any aspects that you find concerning or wish to see changed in the industry?
I believe hard science fiction is the most compelling genre, especially in the midst of our accelerating scientific-technological revolution. This revolution is still in its early stages and advancing so rapidly that sci‑fi writers might soon struggle to keep pace with emerging realities. It seems that almost anything you imagine about advanced robotics or sentient machines is likely to become partially real before you finish your first draft! Consequently, we'll need to create scenarios that go far beyond what appears fantastical today—even exploring territories that might currently seem taboo but could be accepted in the near future. I’d love to see the industry embrace a greater willingness to take risks with these bold subjects.
Finally, are there any other themes or events in the novel that you wanted to discuss that I haven’t already included here?
The novel features a healthy dose of satire aimed at extreme politics—indeed, revenge politics is a major force driving Addy’s story. My work was already en route to the printer during the last presidential election, and at the time, I had no idea who would win or how it might affect the book's reception. Now that the outcome is clear, I've observed that readers have enjoyed the political satire even more than they might have if the election had turned out differently—they tell me it helps take the edge off a little. I see this as a positive sign, as it effectively underscores the novel’s political themes—especially in light of recent events that raise the troubling prospect of politicizing U.S. space policy, a field that has traditionally served as a model of bipartisan unity.
Thank you so much for your time! I really enjoyed Tripping Toward Mars and I hope you have great success with it.
Thank you for the interview! It was an absolute pleasure!