Yesterday, we talked about choosing the right point of view for our stories. Today, we’re taking those BIG moments we’ve been brainstorming and turning them into something a little more manageable.
Individual chapters!
And don’t worry, you guys.
We’re NOT creating an elaborate, 100-page outline. 😂
We’re keeping things simple so we can head into Novel November with a clear direction and plenty of room for creativity!
1. Start With Your Major Story Beats
Remember those story beats we mapped out earlier this week?
Your opening, inciting incident, Act I turning point, midpoint, darkest moment, climax, and resolution?
Those are the landmarks of your story!
Now, we’re figuring out how to connect them.
I personally like to organize my novels into three acts, with approximately 12 chapters per act.
That gives me a starting framework of roughly 36 chapters.
But here’s the thing:
You do NOT need 36 chapters to write a novel!
Maybe your story needs 20 chapters.
Maybe it needs 50.
Maybe you don’t know yet!
That’s perfectly fine.
The goal is to create a structure that works for YOUR story.
2. Break Your Story Into Smaller Moments
Once you’ve identified your major beats, start brainstorming what needs to happen between them.
For example, imagine you’re writing a mystery novel.
Your inciting incident might be discovering a missing family heirloom.
But before your protagonist reaches the midpoint, they might need to:
Interview someone who witnessed something suspicious.
Discover a clue that contradicts the original explanation.
Follow a lead that turns out to be misleading.
Uncover a secret about someone they trust.
Suddenly, you have several possible chapters!
And notice something?
Each event moves the story forward.
That’s what we’re looking for.
You don’t need to know every detail yet.
Just start identifying the moments that connect your major story beats.
3. My Simple Chapter Outlining Method
Here’s how I like to outline my chapters.
For each chapter, I write down:
Chapter Number: Where does this chapter belong?
Chapter Goal: What needs to happen or change?
Setting: Where does the chapter take place?
Characters: Who appears in the chapter?
Three Bullet Points: What are the three most important things that happen?
That’s it!
For example:
Chapter 4 — The Missing Letter
Goal: The protagonist discovers that someone has been hiding information.
Setting: Family library.
Characters: Protagonist, older sibling.
Three Key Events:
The protagonist searches the library for an old photograph.
They discover a letter hidden inside a book.
Their sibling catches them reading it and demands they hand it over.
See how simple that is?
We have enough information to understand the chapter’s purpose without planning every conversation or description.
And when it’s time to draft?
We still have plenty of room to discover what happens along the way!
4. Remember: Your Outline Can Change!
Here’s something I want you to remember.
Your outline works for YOU. You don’t work for your outline.
Maybe you’ll discover a better plot twist while drafting.
Maybe two chapters will work better as one.
Maybe a supporting character will suddenly become far more important than you originally planned.
That’s okay!
Your outline isn’t a contract.
It’s a guide.
And you can change it whenever your story needs something different.
Yesterday, we tackled the dreaded sagging middle. Today, we’re mapping out the final three major story beats:
💔 The Darkest Moment ⚔️ The Climax 💕 The Resolution
These are the moments when your protagonist’s struggles, decisions, and emotional journey finally come together.
And don’t worry if you haven’t figured out your ending yet!
Today, we’re giving ourselves a destination to write toward.
Let’s get to plotting! 🎃✍️
1. The Darkest Moment: When Everything Falls Apart 💔
Okay, writers.
It’s time to make our protagonists MISERABLE. 😂
Your protagonist’s darkest moment is when everything they’ve been working toward appears to fall apart.
Maybe they’ve lost someone important.
Maybe their greatest fear comes true.
Maybe the antagonist wins.
Or maybe they realize that achieving their goal has cost them something they never wanted to lose.
The darkest moment should challenge your protagonist both externally AND internally.
Remember those false beliefs we explored earlier in Preptober?
This is a great opportunity to force your protagonist to confront them.
For example, if your protagonist believes they must handle everything alone, their darkest moment might come when refusing help causes them to lose something important.
Ask yourself:
What’s the worst thing that could happen to my protagonist?
What do they believe they’ve lost?
How does this challenge their false belief?
What must they learn to move forward?
Remember, your darkest moment doesn’t need to be an enormous battle or devastating tragedy.
Sometimes, the quietest emotional moments hurt the most.
2. The Climax: The Moment Everything Comes Together ⚔️
Now for the BIG moment!
THE CLIMAX! 🔥
This is where your protagonist faces the central conflict and makes a decision that determines the outcome of their story.
Everything we’ve been building toward finally comes together.
But here’s something important:
Your climax shouldn’t just resolve the external conflict. It should also reflect your protagonist’s growth.
Think about who your protagonist was at the beginning of the novel.
What did they believe?
What were they afraid of?
What mistakes did they make?
Now ask yourself:
What choice can they make during the climax that they NEVER would have made in Chapter One?
Maybe they finally trust someone.
Maybe they stand up for themselves.
Maybe they choose love over pride.
Maybe they realize that what they NEED is more important than what they’ve always WANTED.
That’s where character development becomes especially powerful.
Your protagonist doesn’t necessarily need to become a completely different person.
But their journey should influence how they approach this final challenge.
3. The Resolution: Give Your Readers a Satisfying Ending 💕
You guys.
WE’VE MADE IT TO THE END! 🎉
Your resolution shows readers the consequences of the climax and what life looks like afterward.
Did your protagonist accomplish their goal?
How have their relationships changed?
What have they learned?
What does their new normal look like?
And most importantly:
How does your ending connect to the emotional promise you made at the beginning of your novel?
A satisfying ending doesn’t have to be happy.
You might be writing a tragedy, a bittersweet conclusion, or the first book in a series.
But readers should feel that the central journey has reached a meaningful conclusion—even if some questions remain unanswered.
4. Let’s Look at Pride and Prejudice 📖
You guys know I LOVE using Pride and Prejudice as an example throughout this guide!
Let’s look at how Jane Austen brings Elizabeth Bennet’s journey to a close.
The Darkest Moment: Lydia runs away with Wickham, threatening the Bennet family’s reputation. Elizabeth fears the scandal could destroy any possibility of a future with Darcy.
The Climax: After Darcy secretly helps resolve Lydia’s situation and Elizabeth comes to understand his character, Darcy proposes again. This time, Elizabeth accepts.
The Resolution: Elizabeth and Darcy marry, and we see how their relationships and circumstances have changed.
What makes this ending so satisfying?
Elizabeth’s external journey and internal transformation come together.
At the beginning of the novel, Elizabeth is confident in her first impressions.
By the end, she’s learned to question her judgments and recognize the difference between pride, prejudice, and genuine character.
Her decision to accept Darcy reflects that growth.
And that’s exactly what we want to consider when planning our own endings!
Yesterday, we started mapping out the beginning of our novels. We figured out where our protagonists start, what disrupts their ordinary worlds, and what major turning point launches them into the central conflict.
Today, we’re tackling something that can feel a little scary.
THE MIDDLE OF OUR NOVELS!
You know, that big stretch of story where our protagonists make questionable decisions, everything starts going wrong, and we, as writers, occasionally wonder why we decided to write a book in the first place. 😂
But here’s the good news.
Your middle doesn’t have to be a confusing collection of random scenes that somehow connect your opening to your ending.
With a little planning, you can create a middle that builds tension, develops your characters, and keeps readers turning the pages.
And we’re going to figure out how to do exactly that!
Grab your notebook, your favorite writing drink (my personal fave is a pumpkin spice tea), and let’s get plotting! 🎃✍️
Why Is the Middle of a Novel So Difficult to Write?
Let’s talk about the dreaded sagging middle.
If you’ve ever written a novel before, you probably know exactly what I’m talking about.
You start writing with SO MUCH excitement.
Your opening chapters practically write themselves. You’re introducing your characters, establishing the world, and setting up all those delicious conflicts.
And then you reach the middle.
Suddenly, you’re staring at your manuscript wondering:
What happens next?
How do I keep the story interesting?
Why does everything feel like it’s moving SO SLOWLY?
How do I get my characters from HERE to THERE?
Do I actually need this scene, or am I just avoiding the next big plot point? 😂
Sound familiar?
One reason the middle can be so challenging is that it has an enormous job to do.
Your beginning introduces the story.
Your ending resolves it.
But your middle?
Your middle has to CHANGE everything.
It’s where your protagonist pursues their goal, encounters increasingly difficult obstacles, forms and breaks relationships, makes mistakes, and begins questioning what they believe about themselves and the world.
And most importantly?
The person who enters the middle of your novel shouldn’t be exactly the same person who comes out of it.
That’s what we’re working toward today.
Step 1: Remember What Your Protagonist Wants
Before we start brainstorming dramatic plot twists and devastating betrayals, let’s return to something we discussed earlier in Preptober.
Your protagonist’s goal.
Back on Day 10, we explored goal, conflict, and stakes.
Those three elements are going to be especially important when we’re plotting the middle of our stories.
Ask yourself:
What does my protagonist WANT?
Maybe they want to win a competition.
Maybe they want to save their family.
Maybe they want to solve a mystery, find love, escape their hometown, or prove themselves worthy of something.
Whatever their goal, it should help give the middle of your novel direction.
Because here’s the thing:
Your middle isn’t just a collection of things happening TO your protagonist.
It’s a series of events that unfold as your protagonist tries to accomplish something.
They make decisions.
Those decisions create consequences.
Those consequences force them to make even MORE decisions.
And suddenly?
You have a story that’s moving forward!
For example, imagine you’re writing a contemporary romance about a woman trying to save her family’s struggling bookstore.
Her goal is straightforward: keep the bookstore open.
But what happens when she discovers that the building’s new owner plans to sell it?
What happens when she starts developing feelings for someone involved in the sale?
And what happens when saving the bookstore might mean sacrificing something else she desperately wants?
Now we’re getting somewhere! 👀💕
Each complication connects to her goal, but it also forces her to confront increasingly difficult choices.
That’s what makes a middle interesting.
Step 2: Give Your Protagonist Obstacles That Actually Matter
Let’s talk about CONFLICT! 🔥
Your protagonist shouldn’t be able to accomplish their goal immediately.
If they could, we wouldn’t have much of a novel, would we? 😂
But here’s something important to remember:
Not every obstacle needs to be bigger or louder than the last.
Sometimes, the most effective obstacles are emotional.
A character loses someone’s trust.
A secret comes to light.
An important relationship becomes strained.
Your protagonist realizes that getting what they want might cost them something they value.
The key is that each obstacle should complicate their journey.
Let’s return to our bookstore example.
Our protagonist might encounter several obstacles:
Financial trouble: The bookstore has more debt than she realized.
A difficult partnership: The only person willing to help has completely different ideas about the business.
A personal complication: She develops feelings for someone whose plans threaten the store.
A painful discovery: Saving the bookstore might require letting go of the way her family always ran it.
Notice how these obstacles aren’t all the same?
Some are practical.
Some are relational.
Some are emotional.
And each one forces our protagonist to reconsider her approach.
That’s what we want!
A Quick Plotting Exercise
Write down three to five obstacles your protagonist might encounter during the middle of your novel.
For each one, ask:
How does this make achieving their goal more difficult?
What decision does this obstacle force them to make?
What happens because of that decision?
Does this challenge something they believe about themselves?
You don’t need to know exactly which chapter each obstacle belongs in.
Not yet!
Right now, we’re just identifying possibilities.
Step 3: Make Things Progressively More Complicated
One of the easiest ways to lose momentum in the middle of a novel is to have your protagonist encounter a problem, solve it, and then move on to another completely unrelated problem.
Over.
And over.
And over again.
Eventually, the story can start feeling like a series of side quests rather than one connected journey.
So here’s a plotting question I want you to keep in mind:
HOW DOES THIS PROBLEM CREATE THE NEXT PROBLEM?
Maybe your protagonist solves one issue but accidentally makes another one worse.
Maybe they get exactly what they wanted, only to discover that it comes with consequences they never anticipated.
Or maybe their attempt to protect someone actually damages the relationship they’re trying to save.
See where I’m going with this?
We’re looking for cause and effect.
Instead of:
This happens. And then this happens. And then this happens.
Try thinking:
This happens, SO my protagonist does this. BUT that decision causes this new problem.
Suddenly, your plot begins to feel connected.
And those connections are what help keep readers invested.
Don’t Forget the Stakes!
As your protagonist moves through the middle, the stakes should become clearer or more pressing.
At the beginning of the story, they might understand what they want.
But by the middle?
They should have a much better understanding of what they could LOSE.
And sometimes, that realization is far more frightening than the original conflict.
Step 4: Find Your MIDPOINT! 👀🔥
Okay, you guys.
Let’s talk about one of my FAVORITE story beats.
THE MIDPOINT!
We briefly introduced this yesterday when discussing our major story beats.
Now it’s time to explore what it actually does.
Your midpoint is a significant event near the center of your story that changes your protagonist’s understanding of their situation, their approach to the conflict, or both.
Think of it as the moment when the story shifts.
Maybe your protagonist discovers an important secret.
Maybe they achieve what seems like a major victory.
Maybe they experience a devastating defeat.
Maybe they realize that the person they’ve been fighting against isn’t who they thought.
Or maybe they finally get something they’ve wanted, only to discover it doesn’t make them happy.
The possibilities are ENDLESS!
But here’s the important part:
Your midpoint should change what happens NEXT.
It isn’t simply a dramatic scene that happens halfway through your book.
It should have consequences.
Ask Yourself These Questions
When brainstorming your midpoint, consider:
What important truth does my protagonist discover?
How does this change their understanding of the conflict?
Does their original goal still make sense?
What new problem does this revelation create?
How might this moment challenge their false belief?
And don’t worry if you don’t have a perfectly developed midpoint just yet.
Sometimes, knowing the TYPE of change you want is enough.
You can figure out the specifics as you continue outlining.
Step 5: Connect Your Midpoint to Your Character’s Emotional Journey
Remember when we spent time developing our protagonists?
We explored their wants, needs, and false beliefs.
Well, guess what?
ALL OF THAT WORK IS ABOUT TO PAY OFF! 🎉
Your midpoint is a great opportunity to challenge how your protagonist sees the world.
Let’s say your protagonist begins the novel believing:
I have to do everything myself because relying on other people makes me weak.
Throughout the first half of the story, that belief might seem to serve them well.
They solve problems independently.
They refuse help.
They pride themselves on being capable.
But what happens when their refusal to trust someone causes a major failure?
What happens when they discover that the person they pushed away was the one person who could have helped?
Now their false belief is being challenged.
And that’s where things get interesting.
Because your protagonist doesn’t necessarily have to change their mind immediately.
In fact, they might DOUBLE DOWN on that belief!
They might become even more stubborn.
They might push people away harder.
They might convince themselves that they were right all along.
And those choices can create even more conflict as the story moves toward its darkest moment.
Your external plot and internal character arc should influence one another.
The events of the story challenge your protagonist.
Your protagonist responds according to their beliefs.
And those responses shape what happens next.
That’s how plot and character development begin working together.
Step 6: Don’t Forget About Your Supporting Characters
Here’s something else to consider.
Your protagonist isn’t the only person who should be doing things during the middle of your novel.
Your supporting characters have goals, motivations, and conflicts of their own!
And those goals don’t always align with your protagonist’s.
A best friend might disagree with an important decision.
A love interest might be hiding something.
A family member might unintentionally make an already difficult situation worse.
An antagonist might exploit your protagonist’s mistakes.
These relationships can create wonderful opportunities for conflict.
But they can also deepen your story emotionally.
Ask yourself:
How do the people surrounding my protagonist complicate their journey?
And just as importantly:
How do those relationships help my protagonist grow?
You don’t need to give every supporting character an elaborate subplot.
But the important people in your story should feel like they have lives and motivations beyond simply helping your protagonist accomplish their goal.
Step 7: Watch Out for the Sagging Middle!
Okay.
Let’s say you’ve brainstormed several obstacles, identified your midpoint, and started connecting everything to your character’s emotional journey.
How do you know whether your middle is actually working?
Here’s a simple test.
Look at a scene you’re considering and ask:
WHAT CHANGES BECAUSE OF THIS SCENE?
Does your protagonist make an important decision?
Does a relationship develop or deteriorate?
Does new information change the situation?
Do the stakes increase?
Does the scene create a problem that will matter later?
If the answer is yes, you’re probably giving that scene a meaningful purpose.
But if absolutely nothing changes?
You might want to reconsider why the scene needs to be there.
This doesn’t mean every scene needs a dramatic plot twist.
Please don’t feel like you need an explosion, betrayal, or shocking revelation every five pages. 😂
Quiet scenes matter, too!
A meaningful conversation can change a relationship.
A moment of vulnerability can reveal a character’s true needs.
A small decision can lead to enormous consequences later.
The key is that your scenes move the story forward.
Momentum isn’t always about moving faster. Sometimes, it’s about making every moment matter.
Step 8: Start Building Toward Your Darkest Moment
Before we wrap up, I want you to think about one more thing.
Where is all this conflict LEADING?
Eventually, your protagonist will reach a point where everything they’ve been working toward feels like it’s falling apart.
Their darkest moment.
We’ll explore this in more detail tomorrow when we map the ending of our novels.
But for now, I want you to consider how the events of your middle might lead to that moment.
Maybe your protagonist’s biggest mistake finally catches up with them.
Maybe an important relationship breaks down.
Maybe the antagonist gains the upper hand.
Maybe your protagonist achieves their original goal but realizes they’ve sacrificed something more important.
Whatever happens, try to connect it to the decisions and conflicts you’ve already established.
Your darkest moment will feel much more powerful if readers can look back and understand how your protagonist arrived there.
And that’s why we’re spending time developing the middle!
We’re not just filling pages between the beginning and ending.
We’re building the consequences that make the ending MATTER.
✍️ Today’s Preptober E-Guide Exercise: Map the Middle of Your Novel
We’ll cover everything from brainstorming and character development to worldbuilding, plotting, outlining, writing goals, and routines.
And the best part?
It’s never too late to start!
You can follow along at your own pace, skip the exercises that don’t serve your story, and come back whenever you need a little guidance.
Coming Tomorrow: Day 20 — Map the Ending! 🎉
Tomorrow, we’ll tackle the FINAL major section of our story structure.
THE ENDING!
We’ll explore:
💔 Your protagonist’s darkest moment.
⚔️ The climax where everything comes together.
💕 The resolution that gives readers a satisfying conclusion.
📖 How to connect your ending to the emotional journey you’ve been developing.
And don’t worry!
You don’t have to know exactly how your novel ends to join us.
We’ll figure it out together.
Now I want to hear from YOU!
What’s the biggest challenge you face when writing the middle of a novel?
Is it figuring out what happens next, keeping the pacing interesting, developing your midpoint, or connecting all those random scenes floating around in your head? 😂
Every great story starts somewhere! Today, we’re taking our big story ideas and figuring out how to turn them into a compelling beginning. Let’s map out Act I of our novels together!
And I don’t know about you, but this is the part of Preptober where everything starts feeling REAL. 🥹💕
For the past seventeen days, we’ve been brainstorming ideas, developing characters, building fictional worlds, and figuring out what makes our stories worth telling.
And yesterday?
We identified the BIG moments in our novels!
Our openings.
Inciting incidents.
Turning points.
Midpoints.
Darkest moments.
Climaxes.
And resolutions!
But today, we’re going to start connecting those dots.
And we’re starting with the very beginning.
ACT I! 🎉
Because before we can send our protagonists on incredible adventures, make them fall hopelessly in love, or completely destroy their lives for the sake of character development…
We need to figure out where their stories begin. 😂
Today, we’re mapping out the opening portion of our novels.
And don’t worry!
We’re not outlining every single chapter just yet.
We’re simply figuring out the important events that will introduce our protagonists, establish their conflicts, and launch them into the main story.
Today, we’re expanding on the beginning of our novels.
And remember…
We’re NOT outlining every chapter yet!
We’re simply mapping the important events that will make up Act I.
Spend about 15–20 minutes working through these steps.
Step 1: Establish Your Opening
Write down a few sentences describing your protagonist’s starting situation.
Who are they?
What does their life look like?
What do they want?
And what isn’t quite right?
Step 2: Identify Your Inciting Incident
Write down the event that disrupts their life.
What happens?
Why does it matter?
And how does your protagonist respond?
Step 3: Explore Their Initial Reaction
Does your protagonist embrace the change?
Resist it?
Try to ignore it?
Or make a decision that creates even more complications?
Think about how their personality and false beliefs might influence their response.
Step 4: Identify Your Act I Turning Point
What major decision or event launches your protagonist into the central conflict?
What changes?
And why can’t things simply return to the way they were?
Step 5: Connect the Dots
Now, look at those major moments and ask yourself:
What needs to happen between them?
You don’t need a complete scene-by-scene outline.
Just jot down a few possibilities.
Maybe a character needs to be introduced.
Maybe an important relationship needs to develop.
Or maybe your protagonist needs to encounter an obstacle that influences their next decision.
These ideas will become especially useful when we start outlining our chapters later this month!
Bonus Exercise: The One-Sentence Act I Summary
Try completing this sentence:
At the beginning of my novel, [PROTAGONIST] is [STARTING SITUATION], but when [INCITING INCIDENT] happens, they must [IMPORTANT DECISION OR ACTION], leading them into [CENTRAL CONFLICT].
Don’t worry about making it sound beautiful.
This isn’t a query letter.
It’s not your final book blurb.
It’s simply a way to understand the direction of your beginning.
And if you can complete that sentence?
You’re already making wonderful progress!
Follow Along With Preptober 2026! 🎃📖
If you’re just joining us, welcome!
Throughout October, I’m sharing 31 daily YouTube videos to help writers plan their novels and prepare for Novel November.
Sending your novel to beta readers is exciting. It’s also a little terrifying.
You’ve spent months—or years—living with these characters, building their world, and trying to tell their story. Then you hand that manuscript to someone else and ask, “Does this actually work?”
That was me when I sent draft three of Project Ember to seven beta readers. Until then, my husband, Ben, was the only person who had read that version. Sharing it with a larger group felt like a huge step toward my goal of pursuing traditional publishing.
Now that all seven readers have sent their feedback, I’m using it to plan draft four. Today, I want to share how I approach that process, from giving myself distance to deciding which changes belong in the next draft.
First, I Step Away From the Manuscript
While my beta readers had my book, I took a complete break from it.
I didn’t reread chapters. I didn’t tinker with scenes. I even avoided my writing playlists because I knew they would pull me right back into that world.
Instead, I focused on creating my free Preptober e-guide and its accompanying YouTube series.
That distance mattered. After spending so much time working on a manuscript, it can become difficult to see what’s actually on the page. I know what a character means. I know the history behind a relationship. But that doesn’t automatically mean I’ve communicated those things clearly to a reader.
Taking a break helped me return with fresh eyes—and I wanted to use those fresh eyes thoughtfully.
I Wait Until All the Feedback Is In
As responses started arriving, I tried hard to resist digging into every comment immediately.
Was I curious? Absolutely.
But I didn’t want to read one person’s reaction and start revising before I understood how the rest of the group experienced the book.
Imagine one reader loves the opening chapters and another finds them too slow. If I immediately rewrite everything based on the second response, I might remove something that was working beautifully for other readers.
Waiting gave me the opportunity to consider the feedback together before making decisions.
For me, that made the process feel much more manageable. I could approach the revision with a clearer sense of direction instead of reacting to each new response.
I Look for Patterns
This is what I look for most when I review beta reader feedback: patterns.
Where are multiple readers having a similar experience?
Maybe several people felt a relationship developed too quickly. Maybe readers wanted more grounding in the setting. Maybe the ending didn’t give them enough time to sit with everything that had happened.
Those repeated reactions help me identify where to focus.
Even readers who love the same genre have different preferences. Some want more romance. Others are especially interested in the worldbuilding. Some enjoy long descriptions, while others prefer a quicker pace.
I can’t create a different version of my book for every reader. What I can do is listen carefully and identify concerns that recur across responses.
Individual Comments Still Matter
Looking for patterns doesn’t mean I automatically dismiss anything mentioned by only one person.
Sometimes a single comment points out something important. A reader might notice a confusing sentence, a missing explanation, or a moment that doesn’t feel consistent with a character.
I want to stay open to those observations.
But I also give myself permission to consider whether a suggestion serves the story. A preference for a different adjective doesn’t necessarily require a change. A comment that reveals a genuine misunderstanding might.
The question I keep coming back to is: Will this revision help me tell the story more effectively?
That gives me a useful way to evaluate feedback without feeling obligated to act on every suggestion.
I Ask for Honest, Specific Responses
My beta readers care about me, so I made it clear I wanted honesty.
Of course I wanted to hear what they loved. But I also needed to know where they felt confused, disconnected, or rushed.
I gave them a detailed questionnaire and offered different ways to share additional feedback, including Google Docs comments and reading notes.
Those formats helped me understand different parts of their experience.
Comments made while reading showed me their immediate reactions. The questionnaire helped me see what stayed with them after they finished the entire book.
Both were useful. I wanted to understand the individual moments and the overall impression.
When they put the book down, how did they feel? Which relationships mattered to them? What did they wish they’d paid more attention to?
Those answers gave me a much stronger starting point for revision.
I Give Myself Room to Process Criticism
Writing is personal. We pour so much time, imagination, and emotion into our stories that receiving criticism can feel vulnerable.
I asked for honest feedback because I want to improve this book. That doesn’t mean every comment requires an immediate response—or an immediate edit.
I can read something, think about it, and come back to it later.
What helps me is remembering why I invited readers into the process. I wanted to understand how the story felt to someone who didn’t already know everything in my head.
Their feedback gives me access to that perspective.
And alongside the criticism, there was so much encouragement. Hearing what readers loved helped me recognize the parts of the manuscript I wanted to preserve as I revised.
Before Editing Chapters, I Revisit the Outline
After reviewing the feedback, I start with the bigger picture.
For draft four, that means revisiting my outline and chapter synopses before working through the manuscript line by line.
I want to know how the changes fit together.
If I add a scene, what does it accomplish? Does it develop a relationship, clarify something important, or create a stronger transition? How will that addition affect the chapters that follow?
It’s easy to get excited about a new idea and drop it into the manuscript. But I want the revision to feel cohesive.
Looking at the outline first helps me see where the story needs more breathing room and where I can tighten things. It also gives me a plan to follow when I’m deep in the editing process.
More Depth Doesn’t Always Mean More Words
When readers ask for more development, my first thought isn’t simply to make everything longer.
Sometimes a scene needs an additional exchange. Sometimes it needs a clearer emotional reaction. Sometimes an existing passage can do more work with a few thoughtful changes.
There are also places where I can cut.
Dialogue might repeat information. A description might slow a moment without adding much. Something I loved in an earlier draft might no longer serve the version I’m writing now.
I want to make room for what matters most.
For me, that’s part of the satisfaction of editing: figuring out where to expand, where to trim, and how to give each scene a clearer purpose.
I Remember What’s Already Working
A revision plan can quickly become a list of everything that needs fixing.
But positive feedback is useful information, too.
If readers connect with a friendship, I want to understand why. If a scene makes them emotional, I want to preserve what gives it that impact. If they love the overall story but need more development in certain places, that helps me understand the scope of the work ahead.
I don’t want to focus so much on improvement that I accidentally edit away what readers already love.
The goal is to strengthen the manuscript while keeping its heart intact.
Turning Feedback Into a Plan
Before I start editing individual chapters, I want to understand my priorities.
My process looks something like this:
Read through all the feedback.
Identify recurring concerns and points of praise.
Consider individual comments that reveal something useful.
Revisit the outline and chapter synopses.
Plan changes across the manuscript.
Begin revising with those priorities in mind.
Having that direction helps me feel excited about the next draft.
And honestly? I love editing. I love slowing down, sitting with the story, and discovering how much stronger it can become.
Beta reader feedback lets me see my work through someone else’s eyes. Then I get to take what I’ve learned and make thoughtful decisions about where the story goes next.
If you’re sorting through feedback on your own manuscript, give yourself time to read, reflect, and plan. You don’t have to solve every comment the moment you receive it.
How do you approach beta reader feedback? Do you read everything immediately, or give yourself time before making a revision plan?
Until next time, keep writing worlds, dreaming big, and making every day magical.
You’ve developed your characters, explored your fictional world, and discovered the heart of your story. Now it’s time to figure out what actually HAPPENS! Today, we’re identifying the major story beats that will guide your novel from beginning to end.
Who makes the rules in your fictional world? Who has the power to enforce them? And what happens when your protagonist decides to challenge the system? Today, we’re exploring politics, authority, and power structures in our novels!
You guys, we’ve officially made it to the FINAL day of our worldbuilding exercises!
Can you believe it?!
Over the past several days, we’ve been exploring the worlds our characters inhabit.
We’ve established our settings, climates, terrain, and natural resources.
We’ve developed our magic and technology systems.
We’ve explored society, culture, traditions, and social expectations.
And yesterday, we identified the different creatures, species, and communities that live in our fictional worlds.
But today?
We’re figuring out who’s actually in CHARGE! 👑😂
Because every society has some form of power structure.
Someone makes decisions.
Someone establishes rules.
Someone has influence.
And someone probably isn’t very happy about any of it.
Which, as writers, means one thing…
CONFLICT! 👀
Today, we’re exploring politics and power, and how the systems governing our fictional worlds can influence our characters, relationships, and plots.
And before my contemporary romance writers start thinking this lesson doesn’t apply to them…
You know what I’m going to say.
WORLDBUILDING IS FOR EVERY GENRE! 😂💕
What Are Politics & Power in Worldbuilding?
Let’s start with the basics.
When we talk about politics in worldbuilding, we’re exploring how decisions are made, how authority is organized, and how different people or groups influence their society.
Now, I know what some of you might be thinking.
Elizabeth, I’m writing a cozy romance. I don’t need politics in my novel!
And you’re right!
You might not need an elaborate political system.
You might not need government officials debating laws or kingdoms fighting over territory.
But politics and power aren’t limited to governments.
Power exists anywhere people have different levels of authority, influence, or control.
Think about a family business.
A university.
A corporation.
A small-town community.
A royal court.
A criminal organization.
Or even a wealthy family whose opinions influence everyone around them.
All of these settings can have power structures.
And those structures can influence what our characters are allowed to do, what opportunities are available to them, and what obstacles they face.
The goal of today’s exercise isn’t to turn every novel into a political thriller.
It’s to understand who holds influence in your world and how that influence affects your story.
If you’re writing fantasy, maybe your world is governed by a king or queen.
Maybe there’s a council of elders.
A group of powerful magical families.
Or several competing kingdoms.
If you’re writing science fiction, perhaps there’s a planetary government, an influential corporation, or an artificial intelligence that controls important systems.
If you’re writing contemporary fiction, power might exist within a workplace, family, school, or local community.
And if you’re writing historical fiction, you’ll want to consider the institutions and social hierarchies that existed during your chosen period.
Now, here’s something important.
The person with the highest title isn’t always the person with the most influence.
A king might officially rule a kingdom.
But perhaps his advisors make most of the important decisions.
A company might have a CEO.
But maybe the founder’s family still controls the board of directors.
Or a small town might have an elected mayor.
But perhaps one wealthy family has influenced local decisions for generations.
See where I’m going with this?
Authority and influence aren’t always the same thing.
And understanding that difference can create some really interesting storytelling opportunities.
Step 2: Establish the Rules of Your World ⚖️
Now that we know who’s in charge, let’s talk about the rules.
Every society has expectations about how people should behave.
Some are formal laws.
Others are institutional policies.
And some are unwritten social rules that people follow because challenging them comes with consequences.
Start by asking yourself:
What rules govern my fictional world?
Maybe certain magical abilities are forbidden.
Maybe only members of a particular family can inherit the throne.
Maybe a company has strict policies about workplace relationships.
Maybe a school has rules that limit what students can do.
Or perhaps a community has longstanding traditions that everyone is expected to respect.
Now, here’s where things get interesting.
What happens when someone breaks those rules?
Are they punished?
Ostracized?
Fined?
Removed from a position of authority?
Or simply judged by everyone around them?
Because rules become especially useful to our stories when they create meaningful consequences.
For example, imagine a fictional university where students are prohibited from entering a particular building after dark.
Now imagine your protagonist discovers something important hidden inside that building.
Suddenly, they have a choice.
Follow the rules and potentially lose access to the information they need?
Or break the rules and risk serious consequences?
That’s how a power structure can create conflict without requiring an elaborate political subplot.
Step 3: Explore Different Types of Power
Now, here’s something I want you to think about.
Power doesn’t always come from an official position.
There are many different ways characters can influence the people and systems around them.
Political Power
This is authority connected to governments, laws, and leadership.
Think kings, queens, presidents, councils, and elected officials.
These individuals or institutions might establish laws, control territory, or make decisions that affect entire communities.
Economic Power
Money and resources can create enormous influence.
A wealthy family might control important businesses.
A corporation might provide most of the jobs in a town.
Or a merchant might control access to something the community desperately needs.
And when someone controls an important resource?
They can influence the decisions of others.
Social Power
Sometimes influence comes from reputation, relationships, or social standing.
Maybe a character is respected because of their family name.
Maybe they’re a beloved community leader.
Or perhaps they have connections that give them access to opportunities others don’t have.
This kind of power can be especially interesting in romance, historical fiction, and contemporary novels.
Institutional Power
Schools, businesses, religious institutions, hospitals, and other organizations have their own hierarchies.
Someone might have the authority to hire or fire employees.
Approve funding.
Grant access to important resources.
Or determine whether a character can pursue a particular opportunity.
Magical or Technological Power
And for my fantasy and science fiction writers?
Power might also come from access to extraordinary abilities or advanced technology.
Maybe certain individuals possess rare magical talents.
Maybe an organization controls the most powerful weapons.
Or perhaps only a small group has access to advanced medical technology.
The important question isn’t simply who has power. It’s what they can do with it.
Step 4: Think About Who Doesn’t Have Power
Now, let’s look at the other side of the equation.
Who has the least power in your world?
Because understanding who holds authority is important.
But understanding who lacks it can be just as useful.
Maybe certain communities have limited access to resources.
Maybe younger family members have little influence over important decisions.
Maybe employees have no say in how a company operates.
Or maybe a character belongs to a group that isn’t represented within the government.
Those differences can create meaningful obstacles.
And they can influence how characters approach their goals.
For example, imagine a protagonist who works for a family-owned business.
They have an incredible idea that could save the company.
But the business owner refuses to listen because the protagonist is young and inexperienced.
Suddenly, the protagonist isn’t simply trying to solve a business problem.
They’re also trying to overcome a power imbalance.
And that creates additional conflict!
Power structures become interesting when they influence what our characters can and cannot accomplish.
Step 5: Explore Conflict Between Those in Power
Okay, you guys.
Now we’re getting into one of my favorite parts of storytelling.
People who disagree about how things should be run! 😂
Because even within the same organization or government, not everyone will agree.
Maybe two members of a royal council have completely different visions for their kingdom.
Maybe a family business is divided over whether to modernize.
Maybe a community disagrees about a proposed development project.
Or maybe a school administration and its students have very different opinions about an important policy.
These disagreements can create opportunities for conflict.
But here’s something important.
The people involved don’t necessarily have to be villains.
Sometimes two characters genuinely believe they’re doing what’s best.
They simply disagree about what that looks like.
And those disagreements can become especially compelling when both sides have understandable motivations.
For example, imagine a fictional town considering whether to sell an old historic theater.
One group wants to preserve the building because it represents the town’s history.
Another group wants to sell it because the money could fund much-needed community services.
Both groups have reasonable concerns.
But they want different outcomes.
And if your protagonist is caught in the middle?
Well, now we’ve got a story!
Conflicting priorities can be just as powerful as conflicting personalities.
Step 6: Connect Politics & Power to Your Protagonist 💕
Now, here’s the question I really want you to focus on today.
How does the power structure in your world affect your protagonist?
Because remember…
We’re not worldbuilding simply for the sake of worldbuilding.
We’re trying to create a believable environment that supports our stories.
So think about your protagonist’s goal.
What are they trying to accomplish?
And who has the authority or influence to help or stop them?
Maybe your protagonist wants to pursue a career their family doesn’t approve of.
Maybe they need permission from an organization to accomplish something important.
Maybe they’re trying to change a rule that harms their community.
Or maybe they have to work alongside someone whose authority they deeply resent.
Suddenly, your power structure has become part of your protagonist’s conflict.
And here’s where we can connect today’s exercise to something we explored earlier this month.
Goal. Conflict. Stakes.
Remember Day 10?
We identified what our protagonists want, what’s standing in their way, and what they stand to lose if they fail.
Well, sometimes the thing standing in their way is a person or institution with more power than they have.
And that creates an opportunity to explore how our protagonists respond to authority.
Do they follow the rules?
Challenge them?
Manipulate the system?
Or try to change it from within?
The way your protagonist responds to power can reveal a lot about their personality, values, and character arc.
Step 6: Don’t Turn Your Worldbuilding Into a Political Encyclopedia 😂
Okay, you guys.
Here’s your friendly reminder for today.
You do NOT need to develop an entire government system before November 1st.
Unless, of course, your story genuinely requires one!
But for most of us, the goal isn’t to create a fifty-page document explaining every law, political office, and administrative procedure in our fictional worlds.
We’re preparing to write our novels.
And sometimes, it’s easy to get caught up in the details.
Maybe you start by creating a royal council.
Then you decide every council member needs an elaborate backstory.
Then you develop a complete history of the kingdom’s political system.
And before you know it…
You’ve spent three days researching medieval taxation. 😂
Now, if that information is important to your plot, absolutely explore it!
But otherwise?
Focus on what matters most.
Who holds power?
What rules influence your characters?
Who benefits from the system?
Who struggles because of it?
And how does that power structure create conflict?
You can always develop the finer details as you write.
Remember, the goal of Preptober isn’t to plan every single detail of your novel.
It’s to create a foundation that helps you begin writing with confidence.
From magical creatures and fictional species to small-town communities and social groups, every story world needs inhabitants who make it feel alive. Today, we’re figuring out WHO lives in our fictional worlds!
And remember, if you’re not writing fantasy, you can absolutely use this section to explore the different communities and populations within your setting.
Start by asking yourself:
What different groups exist in my story world?
Maybe your fantasy world includes several intelligent species.
Maybe your science fiction novel features communities living on different planets.
Maybe your contemporary novel takes place in a college town filled with students, professors, longtime residents, and local business owners.
Or maybe your historical novel explores different social classes within a particular community.
For now, we’re simply identifying the groups that are relevant to our stories.
And here’s something important to remember.
You do NOT need to invent dozens of different groups just to make your world feel interesting.
Sometimes a smaller, more focused population is exactly what your story needs.
The goal is to understand who lives in your setting and how those groups influence the world around them.
Step 2: Explore Your Fictional Species & Creatures 🐉
Now, let’s talk to my fantasy and science fiction writers!
Because this is where things can get especially fun.
Maybe your world includes magical creatures.
Dragons.
Elves.
Mermaids.
Shapeshifters.
Or entirely original species that you’ve created yourself.
And while it’s tempting to immediately start designing elaborate appearances and magical abilities…
I want you to think about something else.
How do these creatures actually LIVE?
What are their physical characteristics?
Do they have special abilities?
Where do they live?
What do they eat?
How do they communicate?
What are their strengths and limitations?
And how do they interact with other inhabitants of your world?
For example, imagine a fictional species that can breathe underwater.
That’s an interesting physical ability!
But now think about how that ability might influence their society.
Would they build underwater communities?
How would they communicate with people living on land?
What kinds of transportation might they use?
Would their environment influence their traditions or beliefs?
Suddenly, one physical characteristic has created all kinds of worldbuilding possibilities.
The most interesting fictional species often feel like they belong to the world you’ve created.
Their abilities, environments, and ways of life should influence one another.
And those details can make your setting feel more immersive.
Step 3: Think About Different Communities & Social Groups 💕
Now, let’s talk to my contemporary, historical, mystery, thriller, and romance writers!
Because even if your novel doesn’t include magical creatures or fictional species, your setting still contains different communities.
And those communities can influence your story in meaningful ways.
Think about a fictional small town.
You might have longtime residents whose families have lived there for generations.
Newcomers who recently moved to the area.
Local business owners.
Students.
Teachers.
Artists.
Or people who commute to a nearby city for work.
All of these groups might have different experiences and perspectives.
Maybe longtime residents are concerned about new development.
Maybe younger residents want more opportunities.
Maybe local business owners depend on seasonal tourism.
And maybe your protagonist finds themselves caught between those competing interests.
Suddenly, the different communities within your setting are creating opportunities for conflict.
And nobody necessarily has to be the villain!
Different groups can have competing goals without being inherently good or bad.
That’s something worth remembering when developing your fictional world.
Step 4: Give Your Groups Distinct Identities
Now that we’ve identified some of the different inhabitants of our worlds, let’s think about what makes them distinct.
Maybe they have different traditions.
Different environments.
Different histories.
Different ways of organizing their communities.
Or different relationships with the larger society.
For example, imagine a fantasy world with two neighboring communities.
One lives in a mountainous region and depends on mining and trade.
The other lives along the coast and relies on fishing and maritime commerce.
Their environments might influence their economies, daily routines, and cultural traditions.
But here’s something important.
Not every individual within a group should be exactly the same.
Just because a community values tradition doesn’t mean every member agrees with every tradition.
Just because a fictional species is known for a particular ability doesn’t mean every individual has the same personality.
And just because two communities have a complicated history doesn’t mean every person living there feels the same way about the other group.
People are individuals.
They have different beliefs.
Different experiences.
Different goals.
And different relationships with their communities.
Those differences can make your world feel much more believable.
If you’re drawing inspiration from real-world communities or cultures, research them thoughtfully and avoid reducing people to stereotypes.
The goal is to create believable inhabitants, not assign an entire population a single personality.
Step 5: Explore Relationships Between Groups
Now we’re getting into something I absolutely LOVE.
Conflict! 😂
Because once you’ve identified the different inhabitants of your world, you can start thinking about how they interact.
Do they cooperate?
Do they compete?
Do they trade resources?
Do they share traditions?
Do they have a complicated history?
Or do they have completely different perspectives on how their society should function?
These relationships can influence the larger story.
For example, imagine two neighboring communities that depend on the same river.
One uses the river primarily for agriculture.
The other depends on it for fishing and transportation.
Now imagine a drought reduces the available water.
Suddenly, the communities have competing needs.
And those competing needs might influence politics, relationships, and individual decisions.
Notice how the conflict develops naturally from the worldbuilding?
That’s what we’re looking for!
Your world’s inhabitants can create meaningful obstacles and opportunities simply because they have different needs and goals.
And remember…
Those relationships don’t always have to be negative.
Different communities might cooperate during a crisis.
Share resources.
Celebrate traditions together.
Or form alliances that become important to your story.
Both cooperation and conflict can help make your fictional world feel alive.
Step 6: Connect Your Worldbuilding to Your Protagonist
Now, here’s something I really want you to think about.
Where does your protagonist fit into this world?
Do they belong to a particular community?
Are they considered an outsider?
Do they feel connected to their heritage or upbringing?
Are they expected to follow certain traditions?
Or do they struggle to find a place where they belong?
These questions can help connect your worldbuilding to your protagonist’s emotional journey.
Remember what we talked about on Day 11?
Wants, needs, and false beliefs!
Sometimes, the communities surrounding our protagonists influence the beliefs they develop about themselves and the world.
Maybe your protagonist grew up in a community that values achievement above everything else.
So they believe they must constantly prove themselves.
Maybe they come from a family with strong traditions, but they want to pursue a different path.
Or maybe they’ve spent their entire life feeling like an outsider and desperately want to find a place where they belong.
Suddenly, your worldbuilding isn’t separate from your character development.
It’s helping shape the person your protagonist has become.
Let’s Look at an Example: Pride and Prejudice 💕
Since we’ve been using Pride and Prejudice by Jane Austen throughout our Preptober E-Guide, let’s explore how the different communities and social groups influence Elizabeth Bennet’s story.
And no, there aren’t any dragons in Pride and Prejudice. 😂
But there are plenty of distinct social groups!
The Bennet Family
Let’s start with Elizabeth’s own family.
The Bennets belong to the landed gentry, but their financial circumstances are complicated by the entailment of their estate.
And within the family, we see very different personalities and priorities.
Mrs. Bennet is determined to secure marriages for her daughters.
Mr. Bennet often responds to family difficulties with humor and detachment.
Jane is gentle and inclined to see the best in others.
Elizabeth values independence and genuine affection.
And Lydia is impulsive and eager for excitement.
Notice how even within one family, the characters have very different perspectives?
That’s important!
A community or social group shouldn’t be treated as though everyone thinks and behaves exactly the same way.
The Landed Gentry
Much of Pride and Prejudice takes place within the social world of the landed gentry.
Families interact through visits, balls, dinners, and introductions.
And wealth, family connections, reputation, and manners influence those interactions.
Characters like Mr. Darcy, Mr. Bingley, and Lady Catherine de Bourgh occupy different positions within this social world.
And those differences influence how they approach relationships and social expectations.
The Military Community
Another important group in the novel is the militia stationed near Meryton.
Their presence introduces new social opportunities and relationships.
And, of course, Mr. Wickham’s involvement becomes particularly important to Elizabeth’s journey.
The militia isn’t simply background decoration.
Its presence helps bring certain characters into the story and creates opportunities for significant events to unfold.
Different Perspectives on Marriage
Now, here’s one of my favorite examples of how social groups and individual perspectives can influence a story.
Elizabeth Bennet and Charlotte Lucas exist within the same broader society.
Both understand the importance of marriage and financial security.
But they approach those expectations differently.
Elizabeth values love and personal happiness.
Charlotte takes a more practical approach to marriage.
Neither character exists in isolation from her society.
But they respond to its expectations in different ways.
And those differences help explore the novel’s central themes.
That’s effective worldbuilding!
The different people and communities surrounding Elizabeth influence her relationships, choices, and conflicts.
And they help make the world of Pride and Prejudice feel believable.
Step 7: Don’t Create More Than Your Story Needs
Okay, you guys.
Here’s your friendly reminder for today.
You do NOT need to invent fifteen different fictional species, twenty social groups, and an entire history for every community in your world before November 1st. 😂
I know.
It’s tempting!
Especially when you’re writing fantasy or science fiction.
Suddenly, you’re designing creatures.
Creating complicated histories.
Developing relationships between entire civilizations.
And spending three hours deciding what kind of food a fictional species eats for breakfast.
And listen…
If that detail is important to your story, absolutely explore it!
But remember why we’re doing Preptober.
We’re preparing to WRITE our novels.
We’re not trying to create the most elaborate worldbuilding encyclopedia imaginable.
So focus on the inhabitants who matter most to your story.
Who lives in your world?
What makes those groups distinct?
How do they interact?
And how do they influence your protagonist?
You can always expand on those details as you draft.
Your worldbuilding should help you tell your story, not become another reason to delay writing it.
And if you’re writing contemporary or historical fiction, feel free to use this space to explore the different communities and social groups within your setting.
Spend about 10–15 minutes answering these questions:
1. Who lives in my world?
Identify the important species, creatures, populations, or communities that exist within your setting.
2. What makes these groups distinct?
Think about their environments, traditions, abilities, histories, or everyday experiences.
3. How do they interact?
Do they cooperate, compete, trade, or have complicated relationships?
4. What role do they play in the story?
How do these groups influence your protagonist’s goals, relationships, or conflicts?
5. Where does my protagonist fit in?
Do they belong to one of these communities? Do they feel connected to it? Or do they struggle to find their place?
And here’s one bonus question:
What is one relationship between two groups that could create an interesting conflict in my novel?
Remember, you don’t need to answer every question in enormous detail.
We’re simply establishing the inhabitants who will help bring our fictional worlds to life.
Follow Along With Preptober 2026! 🎃📖
If you’re just joining us, welcome!
Throughout October, I’m doing 31 daily YouTube videos to help writers plan their novels and prepare for Novel November.
What do the people in your fictional world believe? What traditions do they celebrate? And what happens when someone challenges society’s expectations? Today, we’re exploring how to create believable societies and cultures that bring our novels to life!
Maybe your fictional community places enormous importance on family.
Or tradition.
Honor.
Wealth.
Education.
Freedom.
Community service.
Personal achievement.
Maybe several of these values exist at once!
Now, here’s where things become especially interesting.
What happens when those values conflict?
Imagine a fictional town where family loyalty is considered one of the most important virtues.
Now imagine your protagonist receives an incredible career opportunity that requires moving away.
Their family expects them to stay.
Their community expects them to stay.
But your protagonist wants to pursue their dream.
Suddenly, a cultural value has become a source of conflict.
And nobody necessarily has to be the villain!
The family might genuinely believe they’re protecting something important.
The protagonist might genuinely love their family.
But their values and desires are pulling them in different directions.
That’s how society and culture can create meaningful storytelling opportunities.
Step 2: Explore Traditions & Customs 🎉
Now let’s talk about something I absolutely LOVE when it comes to worldbuilding.
Traditions!
Because traditions can make a fictional community feel incredibly alive.
Think about holidays.
Festivals.
Weddings.
Funerals.
Coming-of-age celebrations.
Religious or spiritual observances.
Family gatherings.
Or even little everyday rituals that people follow without thinking much about them.
These customs can reveal a lot about what a community values.
For example, imagine a fictional coastal town that holds an annual lantern festival to honor generations of fishermen.
Maybe families gather along the shoreline.
Maybe children decorate lanterns.
Maybe local businesses close early so everyone can participate.
That one tradition tells us something about the community’s history, identity, and relationships.
And it might also create an interesting setting for an important scene!
Maybe two characters reunite during the festival.
Maybe someone refuses to participate because of a painful memory.
Or maybe the protagonist challenges a tradition that’s been followed for generations.
Suddenly, a cultural detail has become part of the story.
And that’s what we’re looking for!
Traditions shouldn’t exist only to make your world look interesting. They can also reveal character and create opportunities for conflict.
Step 3: Think About Social Expectations
Now we’re getting into something that can have an enormous impact on our protagonists.
Social expectations.
Every society has expectations about how people should behave.
Some are formal rules.
Others are unwritten customs.
And sometimes, those unwritten expectations can be just as powerful as actual laws.
Think about questions like:
What does society consider respectable?
What behaviors are encouraged or discouraged?
What does success look like?
What expectations surround marriage, family, or careers?
How are people treated when they don’t conform?
Now, here’s where things get interesting.
What happens when your protagonist doesn’t fit those expectations?
Maybe they’re expected to take over the family business, but they want a completely different career.
Maybe they’re pressured to marry someone they don’t love.
Maybe they belong to a community where asking for help is considered weakness.
Or maybe they’re determined to pursue something that others believe is impossible.
Those expectations can create internal and external conflict.
And remember what we talked about on Day 11?
False beliefs!
Sometimes our protagonists develop limiting beliefs because of the expectations surrounding them.
Maybe they’ve been taught that success is the only thing that matters.
Maybe they believe disappointing their family makes them a failure.
Or maybe they’ve spent their entire lives trying to become someone society expects them to be.
Your world’s social expectations can influence your protagonist’s emotional journey.
And that’s why this part of worldbuilding is so important.
Step 4: Explore Social Classes & Community Structures
Next, let’s think about how people are organized within your fictional society.
Does your world have distinct social classes?
Are there wealthy and working-class communities?
Do certain professions carry more prestige than others?
Are opportunities influenced by family background, education, or connections?
And how do these differences affect people’s everyday lives?
Now, you don’t necessarily need to create a complicated social hierarchy.
But it helps to understand whether certain characters have advantages or limitations because of their position within society.
For example, imagine two characters who want to attend the same prestigious university.
One comes from a wealthy family with access to tutors, professional connections, and financial support.
The other has to work multiple jobs while preparing their application.
Both characters might be equally talented.
But their circumstances create very different challenges.
And those differences can influence their motivations, relationships, and decisions.
A believable society doesn’t require every character to have the same opportunities or experiences.
In fact, understanding those differences can help make your fictional world feel more realistic.
Step 5: Think About Everyday Life
Okay, you guys.
Here’s something that I think can make worldbuilding especially fun.
The little details of everyday life! 💕
Because while enormous political conflicts and elaborate cultural traditions are interesting, sometimes the smallest details make a fictional world feel real.
What do people eat?
What do they wear?
How do they greet one another?
What do they do for entertainment?
How do families spend time together?
What does an ordinary workday look like?
Where do people gather?
And what does a typical weekend involve?
Now, I want to be very clear about something.
You do NOT need to answer every single one of these questions. 😂
We’re not creating an encyclopedia!
But choosing a few meaningful details can help readers feel immersed in your setting.
For example, imagine a small town where everyone gathers at the same diner on Sunday mornings.
That one detail can establish a sense of community.
It can create opportunities for characters to interact.
And it might become the setting for an important conversation or conflict.
Sometimes, the simplest worldbuilding details are the most effective.
Step 6: Remember That People Within a Culture Are Different
Here’s something important to consider when developing your fictional society.
Not everyone within a culture will think, believe, or behave exactly the same way.
People have different personalities.
Different experiences.
Different values.
And different opinions about the traditions and expectations surrounding them.
Some characters might embrace their community’s customs.
Others might question them.
Some might feel deeply connected to their cultural identity.
Others might feel trapped by certain expectations.
And some might have complicated feelings about both.
Those differences can make your fictional society feel more believable.
Because real communities aren’t made up of people who all agree about everything.
And your fictional communities shouldn’t have to be, either!
If you’re drawing inspiration from real-world cultures, take time to research them thoughtfully rather than relying on stereotypes.
Consider the variety of experiences and perspectives that exist within those communities.
The goal is to create people who feel like individuals, not simply representatives of a cultural category.
And that applies to fantasy worlds just as much as contemporary fiction!
Let’s Look at an Example: Pride and Prejudice 💕
Since we’ve been using Pride and Prejudice by Jane Austen throughout our Preptober E-Guide, let’s explore how society and culture influence the novel.
Because if there’s one thing Pride and Prejudice demonstrates beautifully, it’s how social expectations can create compelling conflict.
Marriage & Social Expectations
One of the most important cultural expectations in Pride and Prejudice surrounds marriage.
For women in Elizabeth Bennet’s social position, marriage could have enormous financial and social consequences.
And because the Bennet estate is entailed away from the daughters, their future financial security is uncertain.
This helps explain why Mrs. Bennet is so determined to see her daughters married.
But Elizabeth doesn’t want to marry simply for financial security.
She values genuine affection, mutual respect, and personal happiness.
And that creates conflict between her individual desires and the expectations surrounding her.
Social Class & Reputation
Social class also plays an important role throughout the novel.
Characters are constantly aware of wealth, family connections, manners, and social standing.
And those differences influence how they perceive one another.
Think about Lady Catherine de Bourgh.
She places enormous importance on social position and family connections.
And when Elizabeth challenges her expectations, their interaction becomes a powerful moment of conflict.
Elizabeth’s willingness to stand up for herself reveals her character while also challenging the society around her.
Balls, Visits & Social Gatherings
Now let’s talk about some of the traditions that shape the novel.
Balls!
Visits!
Dinner parties!
Social gatherings!
These events aren’t simply opportunities for characters to wear beautiful clothes and have interesting conversations.
They’re important parts of the social world.
They provide opportunities for introductions.
They influence courtship.
They create situations where characters are observed and judged by others.
And they become the settings for some of the novel’s most important moments.
Think about the Meryton assembly, where Elizabeth first encounters Mr. Darcy.
Their initial interaction influences Elizabeth’s opinion of him.
And that first impression becomes an important part of the story’s central conflict.
Different Perspectives Within the Same Society
Now, here’s one of my favorite things about Pride and Prejudice.
The characters don’t all approach their society’s expectations in the same way.
Elizabeth values independence and genuine affection.
Charlotte Lucas approaches marriage more pragmatically, recognizing the importance of financial security.
Mrs. Bennet is deeply concerned about her daughters’ marriage prospects.
And Lady Catherine strongly reinforces social hierarchy.
All of these characters exist within the same broader society.
But they have different perspectives on what matters most.
And those differences create conflict, reveal character, and help explore the novel’s themes.
That’s effective worldbuilding!
The society isn’t simply a backdrop.
It’s actively influencing the story.
Step 7: Don’t Overcomplicate Your Society & Culture
Okay, you guys.
Here’s your friendly reminder for today.
You do NOT need to invent an entire civilization before November 1st. 😂
I know.
It’s tempting.
Especially when you’re writing fantasy or science fiction.
Suddenly, you’re creating fictional holidays.
Designing elaborate wedding ceremonies.
Inventing traditional clothing.
Developing entire educational systems.
And spending three hours deciding what everyone eats for breakfast.
And listen…
If you genuinely enjoy that process, there’s nothing wrong with it!
But remember why we’re doing Preptober.
We’re preparing to WRITE our novels.
We’re not trying to create the most elaborate worldbuilding documents imaginable.
So focus on the cultural details that are most relevant to your story.
What does your society value?
What traditions matter?
What expectations influence your characters?
And how might those expectations create conflict?
You can always expand on the details as you draft.
Your worldbuilding should support your writing process, not become another reason to delay starting.
And whether you’re a dedicated plotter, a proud pantser, or somewhere in between, you’re welcome to join us!
You don’t need a fictional calendar.
You don’t need to invent twelve different holidays.
And you definitely don’t need to know the traditional breakfast foods of every community in your world. 😂
You just need to understand the cultural details that influence your characters and the story you’re trying to tell.
Coming Up Tomorrow: Who Lives in Your Story World? 🧚♀️🐉
Tomorrow, we’re moving on to Day 15 of Preptober 2026, and we’re exploring the different people, creatures, races, and communities that inhabit our fictional worlds.
For my fantasy writers, this might involve magical creatures or entirely fictional species.
For my contemporary and historical fiction writers, we’ll explore the different communities, social groups, and populations that make your settings feel alive.
Because understanding your society’s traditions and values is important.
But understanding WHO actually lives in that society?
That’s where our fictional worlds become even more interesting!
Before you go, I’d love to hear from you:
What’s one tradition or social expectation that plays an important role in your novel? 👀💕
Is it a family tradition?
A cultural celebration?
A social rule your protagonist wants to break?
Or an expectation that makes your protagonist’s life significantly more complicated? 😂
Tell me in the comments!
I’ll see you tomorrow!
We’ve got a novel to plan. 🎃✍️
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