1. How J. Sheridan Le Fanu and Bram Stoker establish and heighten suspense in their gothic
novels Carmilla and Dracula
Creating a suspenseful atmosphere and feeling in the gothic genre is a fundamental element that
separates it from other types of fantasy writing. The gothic genre, when looking at its
development throughout the 18th
and 19th
century, includes an element of suspense and terror that
leaves the audience wanting more, wanting to uncover the mystery, but are often left in the dark
so as to draw their own conclusions, much like those who feature on the pages of gothic novels
themselves. An important aspect of this is creating a psychological or emotional attachment
between the reader and the characters/storyline. Authors can do this by implying that their work
is to some extent factual, creating familiar and unfamiliar characters, bringing the gothic home,
and placing the characters in perilous situations and environments. All these aspects can result, if
properly applied, in a heightened sense of fear and suspense which the gothic genre
holds so close to its cold black heart.
In a time where “good” literature generally referred to the real world by having some moral
intent and truth to it, the gothic can be interpreted as a parody to the outside world (Day 14).
Though the gothics fictiveness is always clear, there must be some attempt made by the author to
get the reader to accept their story. Authors set themselves a very difficult task of trying to make
the setting, characters, and story seem almost plausible, in order to establish a feeling of suspense
for the reader. As with other fantasy genres, the authors do this, not to make the reader believe
that the events actually happened in real life, but it is in order to get the reader to open their mind
to the possibility that in the world where the story occurred, i.e. the gothic world, the strange
occurrences were reality. For the gothic genre, especially for its first readers who lived during
18th
and 19th
century Britain, it appears that this concept of simply accepting the story as
real (though only momentarily) may have required more persuading than for readers of the past,
as this was the era of enlightenment, and belief in the supernatural was being excluded from
mainstream culture (Donald 91-109). Therefore, as a means of proving their validity, authors like
J. Sheridan Le Fanu and Bram Stoker, consciously added something ingenious to the beginning
of their novels.
Le Fanu presents his novel Carmilla with a prologue that informs the reader of how he came
across the narrative, and that it was passed from Laura, the narrator and
protagonist, onto a “Dr Hesselius” whom supposedly attached an in-depth note/essay pertaining
to the legitimacy of the events. Le Fanu adds “as I publish the case, in this volume, simply to
interest the ‘laity’, I shall forestall the intelligent lady, who relates it, in nothing; and after due
consideration, I have determined, therefore, to abstain from presenting any précis of the learned
doctor’s reasoning…” (5) Which is essentially the author making a jest at the general populous
of Britain, in that, even if he did include the Doctors essay, the readers would simply not be able
to understand it. Here, he cleverly sparks the interest of the reader by enticing them to believe
that the events written by Laura did actually occur, so that they can themselves deduce a possible
explanation for the occurrences, so Le Fanu grasps their attention. Bram Stoker also notes in the
beginning of Dracula that all unnecessary information has been excluded and that no statement
is in err, for all the records are given from the standpoints of those who made them. And thus,
albeit for the enjoyment of the book, the audience ought to take the events that occurred as
fact. This works especially well in Dracula because, in this case, the audience is presented with
accounts personally written or recorded by at least six characters as well as other accounts from

2. newspaper clippings, and conversations and letters from other observers. So when the readers are
lead to believe in the validity of a story, they can form their own opinions and are able to get
invested in the characters’ lives, and feel the fear and suspense that the characters do.
The next step in establishing suspense is creating an emotional attachment to the fictional
characters that walk the pages of the gothic genre. Authors must know and understand their
audience. For this reason, it does seem that the gothic stories that used completely foreign and
monotonous characters were somewhat poorly received critically (for example Castle of
Otranto by Horace Walpole, or Vathek by William Beckford) compared to those who used
characters who had more of a British feel and a little more personality, such as those
in Carmilla and Dracula. The development of more rounded characters, as we see
in Carmilla and Dracula, plays a vital role in capturing the audience’s sympathy and ability to
relate. It was not until the latter half of the 19th
century where we began to see more realistic
characters with actual personalities and feelings in the gothic genre.
In Carmilla, naturally, the narrative is focused on Laura, as it is told from her point of view, an
attachment to her and those closest to her is established relatively early on. We see a woman in
her late teens/early twenties whose mother died when in infancy and has only had the guidance
of her father and governesses whilst growing up. Her character immediately stimulates an
empathetic response in readers, as she seems to truly appreciate her position in society and
realises that she has all that she could need, apart from a companion of her own age. Though
clearly Laura is a good story-teller, she doesn’t seem to be the brightest or most perceptive of
people, and she certainly does seem to have a lot of time on her hands, which is something many
of which the upper-class can relate. It is also slightly ironic when comparing the backgrounds of
Laura and Carmilla because they are both so similar, even though one is a naïve and innocent
young girl and the other appears to be a naïve and innocent young girl but is actually a vicious
vampire vixen. The reader can follow along with the story, getting invested in Laura and the
result can be a confusing mix of emotions including fear, sadness, suspense and ultimately
frustration at how blind all of the characters were to Carmilla’s behaviour.
Similarly, in Dracula, Bram Stoker focuses all his attention and sympathies towards the human
characters, who are essentially the known, the English (mainly), and the good. Jonathan Harker,
a proper English gentleman, struggles with the reality of his experience with the Count, and goes
mad trying to conceal it. Lucy Westenra steals the hearts of all the men around her, and we give
our empathy to Dr Seward, Lord Godalming, and Quincey Morris, because they seem to be those
whom are most afflicted by this. Mina Harker is perhaps one of the first (especially to the gothic)
female characters who actually uses logic and skills of deduction in order to be of some use to
the general storyline. Finally, Dr Van Helsing, though not born and bred in England, is generally
accepted by the other characters due to his knowledge and wisdom, as well as extreme respect
for human life and the feelings of others, and this can likewise be applied to the Texan, Quincey
Morris. When the characters are relatable, the audience can feel their pain, know their hopes and
dreams, and above all, root for them to succeed against the “other”. In this case, Count Dracula.
A name synonymous with the devil, who has no soul, completely animalistic and a perfect
example of an intruding force preparing to take over England, which, at the time was
a genuine fear of the English people. The contrast between the human characters and Count
Dracula is enormous, and unlike with Frankenstein’s monster in Frankenstein by Mary Shelley,
there is very little sympathising with Dracula, for we do not hear his side of the story at all. Any

3. interaction with the Count leaves the audience on edge, because we have absolutely no idea what
he is going to do, all that we get told about him is that he is psychotic, malicious, and extremely
powerful. As William Patrick Day states “the vampire is the most striking image of human being
fully transformed by the descent… this symbol of a truly gothic identity is an inversion of human
identity, a new creature, at one with the landscape of fear and terror in which it lives” (7).
It is the power of the unknown or the “other” placed in amongst the “known” that leads to a
heightened level of suspense experienced by the reader, and this can be described as “bringing
the gothic home”. In both Carmilla and Dracula we see normal English people being exposed to
very strange characters, lands, and activities. In Carmilla, though Laura herself has never seen
England, she seems to be able to identify as English, as well as the audience identifying her as
English, by partaking in English customs such as using the language with her father and having a
governess to look after her in the absence of a mother. So she is the “known” transported to a
strange desolate country with a rich but unknown history, where the presence of the “other” is
constantly lingering in the shadows and, unsuspectingly, in her new best
friend, Carmilla. In Dracula, Stoker brings the gothic home a little more literally, as he
has Count Dracula traversing Western Europe and the North Sea to arrive on the sandy shores of
Whitby, and eventually arrive in the booming metropolis of London with malevolent plans for
domination of the English people. What is particularly frightening for the audience during the fin
de siècle, is that these novels highlighted the impending crisis of invasion and
migration which was a possible threat to national security. With the possibility of war in
Europe, to those who read into the allegory, even subconsciously, would have found either of
these novels utterly fear-inducing.
The characters are thrown into surroundings and events that would clearly trigger extreme stress,
anxiety, and fear in any human which is ultimately what generates a heightened feeling of
suspense. The environment is very important, and locations inherently fearful and uncanny to
humans are often used as a way to evoke panic. The most important part about the location is the
fear of the unknown. The dark, cold, and bleak surroundings that are so commonly used in gothic
genre are just as important for heightening suspense as any other aspect, hence the description of
the landscape is often elaborate in detail, as well as the use of constantly changing surroundings
which leave the characters in a constant state of confusion and anxiety, which is intrinsically
passed on to the reader. Laura states, when describing her home, that “nothing can be more
picturesque and solitary. It stands on a slight eminence in a forest. The road very old and
narrow… a steep Gothic bridge carries the road over a stream that winds in deep shadow through
the wood… I have said that this is a very lonely place. Judge whether I say truth” (Le Fanu 7). It
is perhaps also, the similarities with an edge of the uncanny that we experience in the
environment of the gothic. More often than not, real places are used, including their place names,
to give a hint of familiarity, especially such as London and famous street names like Piccadilly
Circus in Dracula but they are ultimately transformed into the uncanny versions of themselves,
much like the characters are uncanny versions of humans. The audience can gather from this a
particular image that will cast in their minds and stay with them throughout the novel which can
give a sense of impending doom for the characters.
Bringing all of these aspects together is what makes novels written by Bram Stoker and J.
Sheridan Le Fanu so successful in establishing and heightening the effects of suspense. It is a
combination of relatability to the protagonist, a feeling of fear and hatred to the anti-hero,

4. and using immersive surroundings to provoke the feeling of suspense but ultimately enjoyment
from the gothic genre.
Word count= 2073
References
 Day, William Patrick. In the circles of fear and desire. Chicago: The University of
Chicago Press, Ltd, 1985. Print
 Donald, John. Fantastical Imaginations: The supernatural in Scottish history and
culture. Ed. Lizanne Henderson. Edinburgh: Birlinn Ltd, 2009. Print
 Le Fanu, Joseph Sheridan. Carmilla. London: Hesperus Press Limited, 2013 (First
published 1872). Print
 Stoker, Bram. Dracula. London: Penguin Group, 2012 (First published 1897). Print