Discussion groups may encounter two major challenges when discussing Dracula. The first is that participants might not actually read the book. Often, individuals assume that watching various film adaptations gives them enough insight to discuss the novel. However, no adaptation truly captures the novel's narrative structure, and one of the most fascinating elements — how Stoker crafts terror through his writing — cannot be appreciated without reading the text. To encourage participants to read the book, consider starting with a trivia quiz covering characters, settings, and events, making it a fun game.

The second challenge arises from the novel's narrative flaws and its deep-rooted presence in our culture. Nowadays, it's difficult to be a reader and not encounter critiques of the Dracula myth, historical accounts, and opinions on the novel's quality. The vast amount of research on Dracula can make Stoker's work seem superficial by comparison. This might lead to a discussion group sitting in silence, feeling that everything about the novel has already been said.

To overcome this, consider the traditional method used by many critics, scholars, teachers, and discussion leaders. Start by exploring how Dracula manages to be highly sexual without overt sexual content. Also, note how it creates fear with minimal explicit violence. Additionally, observe how the character Dracula influences events despite being offstage for much of the narrative. These basic perspectives can lead into discussions about how Stoker conveyed his ideas within the confines of a late-Victorian audience and how a popular author can use words to excite, titillate, and terrify readers. Although the classic battle between good and evil might seem clichéd in Dracula, how does Stoker make the book such an engaging read?

1. Like most horror stories, Dracula revolves around the struggle between good and evil. What are some symbols of good and evil in the novel?

2. What elements of the vampire legend, such as the vampire's daytime slumber, are present in Dracula? What additional elements appear in other vampire stories or films?

3. After leaving Transylvania, Count Dracula is seldom seen for the rest of the novel, although he remains close by. Why does Stoker choose not to show Dracula more frequently? What effect is achieved by making him such a shadowy figure?

4. Do we feel any sympathy for the evil characters? What aspects of their existence might evoke our pity?

5. In their books on horror, both Stephen King and James Twitchell assert that Dracula, Frankenstein, and Dr. Jekyll/Mr. Hyde (with the werewolf being a Jekyll and Hyde archetype) represent the three fundamental types of monsters in horror stories and films. Why do these three, originating from nineteenth-century novels, continue to dominate contemporary horror? What commonalities do you observe between Dracula and the other two monsters?

6. Compare Dracula with earlier vampire literature, such as Sheridan LeFanu's novella Carmilla. Does it appear that Stoker was directly influenced by one or more of these earlier works?

7. Examine the character of Lucy and her significance in the novel. Pay particular attention to her role as a vampire and how she associates with both good and evil characters.

8. Contrast Lucy and Mina, the novel's two primary female characters. Despite their friendship, they are quite distinct, and Stoker clearly intends for readers to hold Mina in higher regard than Lucy. Why is this the case?

9. Analyze the members of Van Helsing's group. What does each character bring to the team? Could any individual member have defeated Dracula on their own?

Claire Clements Morton