Off the Beaten Path: Philip Pullman's Theories on World Building

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Philip Pullman is a master storyteller. His trilogy, His Dark Materials is a testament to his astonishing ability to create deeply immersive worlds that have captivated readers fordecades. Whether it’s the gritty realism of Novy Odense where you can smell the soot andfish on the page, or the haunted splendour of Cittàgazze, where spectres roam the abandoned boulevards, Pullman’s world-building draws you in with its layers of complexity through his, for my money, unmatched imagination. His universe feels vast and alive, with endless stories waiting to be told beyond the main plot.

Pullman isn’t just a brilliant author; he’s also a profound thinker with a deep understanding of the craft of storytelling. In Daemon Voices, a collection of essays on writing and creativity, Pullman offers invaluable insights for any writer. His metaphor of the ‘path through the wood’ provides a fascinating perspective on storytelling choices, and it’s amust-read for anyone looking to deepen their understanding of the writing process. Pullman’s reflections on narrative, imagination, and the role of the writer are as compelling as his fiction.

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In this blog, we’re going to dive into Pullman’s metaphor from The Path Through the Wood, but with a slight twist. While Pullman advocates for staying on a clear path through yourstory (which I agree with), we’ll explore how building a world, or planting a forest, that extends far beyond that path can create a richer experience for your audience, especially in today’s storytelling landscape and the new ways entertainment is consumed.

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The Path Through the Wood

In his essay, The Path Through the Wood, given as a lecture in August 1999, Pullman uses an extended metaphor to describe storytelling as a journey along a structured path through a wood or forest. The path represents the story’s core narrative that leads the reader from point A to point B. From the first page to the last.

Pullman emphasises theimportance of sticking to this path:

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“The path… is a structure. And it has a function: it leads from here to there, or from A to B. It’s extremely linear; even when it doubles back and crosses itself it does so with an air of purpose. It says: ‘I know where I’m going, even if you don’t.’”

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In Pullman’s view, the writer’s job is to guide the reader along this path without straying too far into the surrounding woods; the expansive world-building elements that don’t directly serve the story. He warns that wandering off the path can distract readers and pull them out of the narrative:

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“Stick to the path. Admire them [the woods] by all means, and slow down a little if you must, but don’t leave the path.”

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However, Pullman is the first to admit that this approach isn’t the only way to write a story. In fact, he offers a disclaimer of sorts to remind readers that this is just his method:

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“… we are each convinced that our method is the only sensible one. So when I describe my own way of going about it, please remember that I’m not recommending it as the only way, or the best way, or an infallible way. It’s none of those things; it’s only my way.”

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This acknowledgment is important because, while Pullman’s ‘stick to the path’ approach works well for creating a clear, focused narrative, it doesn’t mean that more expansiveworld-building isn’t just as valid or useful, and I think this is particularly apt in today’sstorytelling landscape. But I also want to mirror his sentiment: when I describe my way of going about it, it’s only my way.

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Beyond the Path

World-building is the art of creating a fully realised, immersive environment with its own rules, cultures, and histories. In some genres, especially fantasy and science fiction, worldbuilding is part of the core appeal. While Pullman warns against overwhelming readers with unnecessary details in the main story, the success of expansive IPs, like Pokémon, Warhammer, Marvel or the Wizarding World, shows that audiences thrive on worlds that extend far beyond the narrative path.

Pullman stated:

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“The wood, or the forest if you like, is a wild space. It’s an unstructured space. It’s a spacefull of possibilities. It’s a space where anything can happen… It’s non-linear. It just grew.”

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Pullman calls this idea the Phase Space; a term from dynamics that refers to the space of all possible outcomes:

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“It’s the notional space which contains not just the actual consequences of the present moment, but all the possible consequences. The phase space of a game of noughts and crosses, for instance, would contain every possible outcome of every possible initial move, and the actual course of a game could be represented by a path starting from the one move that was actually made first.”

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World-building is like the Phase space: it contains not just the actual events of your story, but every possible outcome, every potential side story, every untold piece of lore. And in today’s world of expansive fiction universes, readers want to explore that space.

For Pullman this space is the untold possibilities:

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“I am surely not the only writer who has the distinct sense that every sentence I write is surrounded by the ghosts of the sentences I could have written at that point, but chose notto. Those ghosts represent the phase space of what you could have said next.”

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For me, the wood is slightly different from the Phase space. The wood is everything you should write that surrounds and adds to your story. Not just the ghosts of things you could write but chose not to. The wood doesn’t just grow. The wood must be thought about and developed too. These possibilities aren’t just there to distract, they can be the foundation for endless spin-offs, games, and interactive content. Modern audiences love getting lost in these expansive worlds, especially when there are multiple paths to explore beyond the main storyline.

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Laying the Path

It’s important to emphasise the necessity of having a well-laid path for your story. I am an advocate of the woods but I still want well-laid paths inside them. The plot is the core thread that holds the reader’s attention. Pullman is right that if you stray too far, you risk losing them. A focused, linear narrative is key to maintaining coherence and help guide your audience through your world, in any given story.

When crafting your story keep the plot clear and focused. The path is the structured narrative that drives the characters and story forward. Avoid overloading your story with unnecessary details that don’t serve the plot.

However you should still build your world beyond the confines of your story, just don’t throw every detail of your world into one story. Save the deeper layers of your worldbuilding for other mediums whether it be spin-offs, prequels, or companion content. A well crafted main narrative can serve as the foundation for a much larger universe.

I believe today’s audience wants more than just the main path. They want a world to explore that feels alive, interconnected, and full of hidden gems or Easter eggs. In fact, we live in a post-structural world where linear stories are losing ground to more expansive, generalised worlds. Whether it’s a YouTuber making short-form, non-narrative content, or the Marvel franchise with its countless spin-offs, and interactive experiences.

Don’t get me wrong, the Iron Man path needs to be solid, as does the Captain America path. They can cross over each other or merge but the paths themselves need to be solid under foot. But its the expansive world-building beyond these paths that allows for all the bells, whistles and merch that people have come to love. A modern audience loves delving into sprawling forests, exploring side paths, climbing trees, and perhaps discovering a hidden rope swing no one else has found, and the internet has made this easier and more accessible than ever before.

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Pokémon

Pokémon is one of the most successful franchises in history, and it’s not because the mainstoryline of each game is particularly deep. The core story; becoming a Pokémon masterby catching and battling creatures, is a relatively clear path, but what makes Pokémon stand out is how the world-building extends far beyond that path.

The Pokémon world invites exploration, and nowhere is this more evident than with Pokémon Go. The mobile game allows players to literally stray from any path by walking around the real world to catch Pokémon. There’s no linear storyline; instead, it’s an openworld experience where players are encouraged to explore their surroundings, turning the entire world into a playground.

This expansive approach to world-building has allowed Pokémon to remain relevant across generations. By creating a world where side quests, spin-offs, and fan-driven activities are built in. Pokémon shows how straying from the main path can lead to massive success. Pokémon Go is the perfect example of how modern audiences enjoy straying off the beaten path.

Pullman said:

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“I’ve never been a games player of any kind – computer games and card games and chess and Monopoly have never had the slightest attraction for me – so maybe it’s the games-playing cast of mind that you need and I haven’t got.”

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So maybe this goes some way to explaining why he does not enjoy the wood for the sake of the wood, but with ‘approximately 3.32 billion active video gamers worldwide’, that's around 40% of the world’s population that’s more than happy to leave the main quest and embark on a side quest or two!

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“…if you leave the path, the readers put down the book. Suddenly they remember that phone call they had to make; they look in the paper to see what’s on TV; they think a cup of coffee would be nice, and when they’re in the kitchen they look out the window and see that hedge they meant to trim yesterday, or they switch on the radio to hear the football commentary, or when they get the milk out the fridge they remember they had to get some cheese for supper, and there’s just time to go and get it… And meanwhile the book is lying there forgotten. Because you left the path. Because you became more interested in the wood, in elaborating all the richness and invention of the world you’re making up. Neverleave the path.”

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In today’s world, people don’t ‘put the book down’ when they encounter a side story—they dive deeper into it, wandering off the path and happily getting lost in the woods. We are children when we watch, read and play, and when children see an excellent stick in the woods, which might vaguely resemble a sword, or a good-looking tree to climb, they don’t stick to the path, they go and climb the tree. They go get the stick.

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Warhammer

The Warhammer universe is another excellent example of extensive world-building that strays far from any one storyline. Initially a tabletop game, Warhammer has evolved into a sprawling franchise encompassing books, video games, and animated series. What makes Warhammer unique is that it doesn’t stick to a single linear story.

Warhammer invites players and readers to explore vast timelines, political systems, and lore that covers thousands of years. From the grim dark dystopian universe of Warhammer 40K, to the intricate, Tolkienesque lore of the Old World, all the way to the post-apocalyptic Age of Sigmar, the franchise offers numerous paths for fans to follow, each deeply rooted in the world’s detailed history and allows you to wander through the woods in search of different paths, painting little figurines as you go.T his model of world-building has turned Warhammer into a franchise that feels alive, with endless content, stories and games for fans to dive into. It’s proof that giving your audience the freedom to explore an extensive world can create a dedicated, thriving community. The paths must still be well laid but within such a large forest that you barely need to step foot on a path and you will still find your way.

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Growing the Forest

The success of franchises like Pokémon and Warhammer illustrates that more worldbuilding often means more engagement. Modern audiences want the freedom to explore multiple paths and uncover hidden stories, and other forms of content, in ways that weren’t possible back in 1999. Pullman’s advice to "stick to the path" works well for keeping a single story tight and focused, but outside of that, a vast, well-developed world can lead to great opportunities.

Pullman warns that wandering too far off the path can lead to distractions, but I believe letting readers wander, and trusting they will come back, can make your world, and your story, richer. Look at the most successful fictional worlds in recent memory: J.R.R.Tolkien’s Middle Earth, George R.R. Martin’s Westeros, J.K. Rowling’s Wizarding World, and the Marvel Universe. These worlds don’t just stick to a single path, they invite readers to explore the woods, getting lost in histories, side quests, video games, and conventions, that go far beyond the main narrative.

Being sorted into Hufflepuff or Slytherin on the Wizarding World website (formerly Pottermore) or owning a toy wand that shoots fire, can change or enhance your reading (or viewing) of the Harry Potter series. Your playing in the woods doesn’t distract you from the path, it adds to it. It makes it a more pleasant place to walk. You’re not just visiting the woods, you live there, its your path.

Instead of asking “How much world-building is too much?” let’s ask “How does worldbuilding enhance the experience for the audience?”

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Here are three things to keep in mind when deciding how deep to go:

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1. Does your world invite exploration?

A well-built world isn't just a backdrop for the story, it’s a place your readers want to get lost in. For instance, Tolkien’s Middle Earth is more than just the stage for Frodo’s journey. It’s a fully-realised world with languages, cultures, and histories that have kept readers exploring its depths for decades (Pullman has some relatively strong views on Tolkien that we will get into another time!)

Can you give your audience the sense there is more beyond the page? I believe you should not fake it. You should not have a thin veneer that implies depth, when the well is actually shallow. By building the world beyond the path you not only guarantee giving your audience the feeling there is more to explore, but you have a world for them to explore when they are ready to leave the path.

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2. Is your world consistent?

Just because your readers can wander off the main path doesn’t mean they should get lost in a chaotic tangle of unkempt trees, with roots that have grown across the path, cracking the ground and making it impossible to traverse. Even if your world is vast, it should still make sense.

“You can make your story-wood, your invented world, as rich and full as you like, but bevery, very careful not to be tempted off the path.”

I think you can read this not just as advice to remain focussed but as a warning about the importance of consistency. Make sure that when your readers do wander, the rules of the world still hold true.

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3. Does your world feel like it exists beyond the characters?

The worlds that feel the richest are the ones that seem to be alive beyond the scope of the protagonist’s story. George R.R. Martin’s Westeros is a great example: the world’s politics, history, and culture feel like they exist whether or not Jon Snow is in the scene. This makes the world feel alive and endlessly explorable. You want to know what the smaller or even background characters are up to.

Martin bloody loves the woods! A Song of Ice and Fire is a sprawling network of paths, some that seem to just stop randomly in the middle of desolate clearings, but there is still asense that they will all come together eventually (huge emphasis of the word ‘eventually’) (Hurry up George!).

His world feels so real and lived in that we will happily read a fictional history book exploring the backstories of the events, wars, and the houses that make up his grand tapestry. This is because he has written it. He has strayed from the path of his main storyand consciously grown the woods around it, and I believe this adds a huge amount to the main text.

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Planting the Forest

So how do you grow your forest whilst painting your paths?

1. Keep the main story clear

Ensure that your core narrative is focused and easy to follow. The path through the woods should be well-marked so readers never feel lost.

2. Build the world beyond the path

While the main story should remain clear, don’t be afraid to let your world-building grow far beyond it. Think of other stories, spinoffs, or interactive content that can allow your audience to explore.

3. Use your characters as anchors

Even in an expansive world, your characters can help guide the reader through unfamiliar terrain. Let them be the connection between the plot and the larger universe.

4. Encourage exploration

Whether it’s through side stories, games, or hidden Easter eggs, give your audience the chance to wander off the path. Creating multiple ways to engage with your world will keep them coming back.

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Conclusion

Pullman’s metaphor of The Path Through the Wood is incredibly valuable, especially whenit comes to keeping a story on track and I do not remotely disagree with him that a clear path is essential. Pullman is saying, make sure your audience can see the wood for the trees —or more specifically see the path through the trees. It’s a metaphor I am more than happy to steal, and as Pullman said:

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“…if I see something in their wood worth stealing, I’ll pick it up and take it away without hesitation. If they didn’t want me to steal from their story, they shouldn’t have invited me into it.”

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The only way my opinion differs from Philip Pullman’s is that my wood and my Phase space are not the same thing. The Phase space is what could be included and the wood is what should be included — maybe not on the page, not on the path, but it should be considered, developed and grown — and perhaps even written down in one form or another. Pullman is not saying don’t world-build. He’s just saying don’t inundate your story with world-building details and only build what is “necessary” for the story to be told. I think you should do loads of “unnecessary” world-building!

In 2024, audiences crave more than just one linear narrative. They often want to explore the world around the path. The success of franchises like Pokémon and Warhammer shows that by allowing fans to wander and discover new layers of your world, you can create a richer, more immersive experience.

In today’s landscape, world-building doesn’t need to be confined to a single path. By creating an expansive world that extends far beyond the main plot, you invite your readers to engage with your universe in new, exciting ways. Whether through spin-offs, interactive content, or entirely new stories, the opportunities for exploration are endless.

But these opportunities will only come if you build the world.

Lay the path but don’t be afraid to grow the woods. Even if it feels pointless as it does not affect the story you are writing, the audience will feel and taste there is more to explore, and by inventing it and writing it, your world might just expand into an entire universe.

If you build it, they will come.

(Oh, and also, world-building is just good old-fashioned fun!)

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More on World Building and Writing

Multiple free resources and blogs about world building and writing are available on Blauw Films.

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World Building Resources

1. Building Worlds — an introduction to writing stories for your worlds
2. Building Worlds Document — an advanced worksheet for expansive world building

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Blogs

1. Introduction to the Three-act Structure
2. The Essential Guide to Internal and External Logic in World Building
3. The Iceberg Theory of Storytelling
4. The Secret of Creating Great Magic Systems
5. World Building Techniques for Fantasy Stories
6. Theme, Message and Interpretation

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