One of the key differences between an ordinary—or even a good—novel and a great one is scope. The former often confines itself to a narrow view of life, focusing solely on immediate events, while the latter broadens its perspective, peeling back the layers of the story to reveal deeper, universal truths.

How do you achieve this? Start by writing a story with a narrow scope, then expand it. Tie it to a broader perspective. Make it more global, more universal—or even cosmic.

Example 1

An ordinary crime novel begins with a crime and ends with the capture of the criminal. If well-written and published by a major publisher, it might become a bestseller. But it will likely fade over time, forgotten by readers.

To elevate it into a great novel, embed it within a philosophy or a larger view of life. Connect the crime to themes of life and death, morality, or humanity’s eternal struggles.

Example 2

Here are three levels of writing a novel about a young man addicted to drugs:

• Level 1: The young man’s friends try to rescue him. They discover the drug dealer, leading to adventures, chases, and troubles. In the end, they succeed. This is a story with a narrow scope.
• Level 2: The perspective widens. After uncovering the dealer, the friends realize he’s not the sole villain but a victim himself—just one link in a larger chain. They learn that the true mastermind is the young man’s father, who abandoned him and his mother.
• Level 3: This level incorporates the faults of modern society. It explores how a society obsessed with wealth and status overlooks human flaws as long as the rich remain powerful. It examines how such a culture fosters inequality and drives individuals toward self-destruction.

Example 3

Consider a comparison between Carmilla by Joseph Sheridan Le Fanu and Bram Stoker’s Dracula. While it seems Dracula was inspired by Carmilla, the former is an example of a novel with a broader perspective. Carmilla unfolds in a single palace in the woods near a town, while Dracula spans a continent, extending to Britain. The characters confront Dracula in their homeland and then pursue him back to his castle.

However, it’s not just the setting that makes Dracula expansive. The story delves into Dracula’s historical roots, his role as a leader centuries before, and his creation of a new vampire generation. It explores the collective anxiety of the characters about their nation and humanity’s future. By contrast, Carmilla introduces its vampire with little backstory, limiting its depth.

My Approach

Disliking narrow perspectives, I’ve extended the horizons of my novels. In The Warlock of the Village, the young shepherd dreams of wealth, but I didn’t allow him to simply achieve it and live as a rich man in his village. Instead, he leaves, returning as a wealthy and powerful warlock. Yet, that’s not where the story ends—it delves into his inner struggles and questions of life and death.

In A Murder in the Cretaceous Period, it’s not just a detective story. It examines the hollow life of a man, his fate, and the destructive influence of the powerful. Similarly, in The Bigs and the Littles, which deals with infidelity and family life, there’s a higher layer of meaning: the “bigs” (adults and governments) deceive the “littles” (children and citizens).

When writing your novel, strive to expand its horizon, tying it to life, existence, and universal themes beyond its simple plot. This is the first condition for creating a great novel. Whether or not it becomes a bestseller, it will hold lasting value.