Skyward

Brandon Sanderson is the author of several highly successful fantasy series, and Skyward is his first undiluted foray into science fiction. His fantasy novels all take place within a universe called the Cosmere, and many of his titles, including the Stormlight Archive series (The Way of Kings, Words of Radiance, Oathbringer, Rhythm of War, and Wind and Truth), both Mistborn series (including Shadows of Self), Tress of the Emerald Sea, and Elantris, all take place within this broader world. However, Skyward is meant to be set in the real universe even though its events do not take place on Earth.

The characters in Sanderson’s fantasy novels often have special mystical abilities of one kind or another, and the author also employs this approach in Skyward with the concept of the “defect,” the gift that allows Spensa and others like her to navigate the great distances between the stars. This “defect” is essentially a mystical power that allows Spensa to psychically control ships and to hear the telepathic communications of the Krell.

Even in his fantasy series, Sanderson’s magic systems are often quite detailed, thereby differing from the vaguer descriptions of magic often featured in traditional fantasy novels. For this reason, his scientific approach to magical abilities is easily transferred to the science fiction genre. Each series that he creates functions according to very specific rules and demonstrates Sanderson’s intricate worldbuilding. For example, the magic of the Mistborn series involves metals that people can “burn” inside their bodies to gain powers, while certain characters in the Stormlight Archive series must breathe in a substance called Stormlight to gain a specific range of powers. The Stormlight Archive series also reveals the existence of a Cognitive Realm that lives alongside the Physical Realm. His magic systems therefore often seem “scientific” in the sense that they adhere to specific rules and limitations. Likewise, Spensa’s power—which is dubbed a “defect” by those in power—allows her to communicate with technology. In this way, Sanderson has effectively created a version of magic that integrates with the technology of the world.

With this and other innovations, Sanderson pointedly breaks with the conventions of fantasy and science fiction literature and forges new pathways for the genre. In Skyward, his world-building skills allow him to envision a version of humanity that exhibits fantastic elements despite its connection to the real world. Additionally, Sanderson writes in his Acknowledgment that Spensa, the protagonist of Skyward, is inspired by some of his own emotional experiences as a young man. He admits that his road to becoming a writer sometimes felt as hopeless as Spensa’s journey to become a pilot. Spensa’s community also echoes Sanderson’s own friends and family—those who offered him the support he needed to persevere.

Skyward is therefore Sanderson’s attempt to provide a novel that validates many teens’ experiences of exclusion or hopelessness, and he acknowledges the difficulties involved in achieving dreams that feel impossible. Many of his novels also explore the nuances of mental health topics such as anxiety and depression, and Skyward conforms to this pattern. As Spensa’s worldview is challenged, she struggles to adapt to her new circumstances and feels a sense of self-doubt and self-recrimination. As in all of Sanderson’s series, Spensa needs the support of her community to cope with her mental health conditions. By bonding with others, Spensa finds a place of safety and gains the strength she needs to face and overcome her demons.