And now that my brain is tired...

Something outrageous.

I hereby promise to whatever publisher buys my book that I will buy these shoes and wear them to every book event for promoting Dracula's Secret.

I will be something like 6'3" in them, but what better way to grab attention that an over six-foot tall woman talking about naughty vampires?


Fendi Cinderella Runway Platform Sandals available via Saks Fifth Avenue.

Getting Cynical on Vlad Dracula.

Even the most cursory look at the secondary and tertiary sources on Vlad Dracula shows a stunning (or tedious, depending on your personality) number of resources on how bloodthirsty and cruel this particular historical figure was.

To find out where they got their information, I did what every self-respecting historian does. I checked their bibliographies for their primary sources. This is what I found.

Vlad Dracul II lived from 1431-1476.

No sources survive from Vlad himself (despite it being commonly reported that he was highly educated and literate). This includes any of his legislative acts.

No sources survive from his brothers, father, wives, other relatives, or even friends.

The only primary source that is contemporary to Vlad's life is in the Monastery of St. Gall, in Switzerland. It was written by an unknown author in 1462. The manuscript gives a number of anecdotes about Vlad (thirty-two, according to the translation I read). The translator claims that six of those thirty-two stories are confirmed by other sources, but does not name those sources.

The stories discussing Vlad's crimes against humanity were not verified by other contemporary sources.

The Russian and German documents that discuss Vlad's preference for disemboweling animals, etc., etc., etc., date from 1490 at the earliest.

The woodcut portraits of Vlad date from 1488 and 1491. The famous oil portrait comes from the second half of the 17th century. Which, I might point out, is nearly 200 years after Vlad died.

Many scholars make much of the oral transmissions of the folk tales of Romania. Unfortunately, I was unable to find any analysis of these stories by anthropologists or historians that would confirm the accuracy. Folk tales often are multipurpose stories - they could be cautionary tales or money makers to fleece the unsuspecting. I've not seen any studies done of where the folktales agree with the primary sources.

For example, contemplate the relationship people in the United States have with George Washington. The old cherry tree tale has been discredited, but how many of us still remember it and tell it?

What all this boils down to is very simple:

We don't know that much about this historical figure.


So as a result, I felt like I could play with this person, bring my own interpretation to the story of Dracula. After all, my outrageous ideas seem to fit right in with the rest. :)

I'm sure that I've missed a lot of information on the historical Dracula. I look forward to hearing from others who want to share their research with me.

The oil portrait image shamelessly www.dracula.info. Fabulous website and lots of fun.

Digging around in Primary Sources.

Now you have your sources, primary and otherwise, all laid out. Now what? What criteria do you use to select which ones you wish to consult?

For an example, I will use a famous case of really bad sources and a vicious historical hatchet job, namely, King John I of England (I know this blog is about Dracula's. This example does have relevance to Dracula. Be patient!).

The best structure for an evaluation uses the classic "who, what, when, where, and how" criteria. Here's how to apply these questions to a primary source.

Who?
Who created it? A monk? An adversary? A hagiographer? An admirer? A satirist - hey, are you taking a sarcastic book seriously? (I've done that. It's very embarrassing.) The only contemporary chronicles for King John for whom we know the authors are Gervase of Canterbury and Ralph of Coggeshall. There are scanty anonymous annals from monks from Dunstable, Worcester, and Tewkesbury, and the abbes in Margam in Glamorgan and Waverly in Surrey.

When?
When did they write it? Are they a contemporary of the person or action? Did they write it later using their memories or rumor? John of Wendover wrote his stories after 1226. Matthew Paris began plagiarizing Wendover's stories starting in 1235. King John died in October 1216. John's son, Henry, did not take the throne until September 1217. Does something about those sources look funny to you, too?

What?
What did they create? A book, artwork, or an object? What kind of condition is the item in now? What purpose did it serve? Roger of Wendover very honestly stated that his book was not a history; he wanted an effective foil for sermons against various sins.

Where?
Note that there are regional and temporal differences in climate of opinion. Also, different geographical climates preserve things better than others. So we have wonderful artifacts from dry climates like Egypt, but few from moist climates like SubSaharan Africa. Remember, books are destroyed in a particular pattern as are scrolls and pottery.

How?
Did the creator use eyewitnesses? Other accounts? Is the account littered with unsubstantiated rumor? A good question to ask is how good is the rest of the source. Roger of Wendover's "chronicle" of King John is full of stories that no-one would take seriously. He writes of a washerwoman who broke the Sabbath to work and was exsanguinated by a small black pig for punishment. He writes another story of a loaf bread that because it had been baked on Sunday, ran with blood when it was to be sliced.

"There is one, (it is eighteen pages long) about a peasant named Thurkill from the village of Twinstead in Essex, who, in 1206, was led through the realms of Purgatory by St. Julian. As Wendover tells it, the story has many realistic touches, from the man's name and place where he lived to precise details about the torture chambers of the underworld: in one, for example, stand cauldrons of inky water so bitter that if a piece of wood is thrown in the bark instantly peels off. It is a grim and lively story; but is it true? Wendover certainly seems to think it as authentic as his stories about John; and it is difficult to see on what grounds historians should reject the former while accepting the latter." Warren. P. 11

Now, what if don't have a smoking gun" like the King John example? What if you just feel uncomfortable about using that source? Many historians are nervous about basing a text on controversial "primary sources". Historians will tell you to do another search to see if you can find any sources to supplement, replace, or confirm the references you are using from these sources. The citation will have more authority if you are able to back up your point with multiple sources.


The historiography for this section is based on W.L. Warren's book, King John, published in London by Eyre & Spottiswoode c. 1961. I highly recommend it.

Something kind of random.

I cannot be the only person kind of weirded out by the song Escape (The Pina Colada Song).

A slight diversion

Before I get on the promised topic of why I wanted to write about Dracula, I want to discuss how historical research gets done.

Historical research is mostly done from written sources. The three main classifications of sources are tertiary, secondary, and primary (historians are not known for creative classification names).


Tertiary sources are the most common and the most easily accessible. A tertiary source is one that is not written in the period in question. Tertiary sources discuss current research and current attitudes about that particular topic or time period. Tertiary sources include text books, book reviews, timelines, and encyclopedias. They are very useful places to start research.


Secondary sources are still written out of period, but refer to period sources. They are often specialized books, dissertations, or theses that look at available period evidence about a person, place, thing, or idea. They are a good place to grasp a complete view of a culture. They also vary greatly in quality, complexity, and scope (this is where you use the book reviews and abstracts to determine which one). This is King John by W.L. Warren, one of my very favorite secondary sources.


A primary source is a source created at the time you are studying by a contemporary of the action or person. They are more scarce and more difficult to understand, but a whole lot more fun to work from. Examples are coins, inscriptions, buildings, portraits.


Secondary and tertiary sources are often blended sources; they have pictures, quotes, graphics, and facsimiles of primary sources in them. This is extraordinarily helpful - you can get feel for a primary source without having to find it in its entirety.

Frequently, primary sources are published in collections or in thematic arrangements with introductions. Primary sources are not limited to written material; paintings, coins, carvings, artifacts (surviving physical evidence), tapestries, buildings, and photographs and photocopies of any of these are primary sources.

The best and hardest way to write history is from primary sources. The further away a text is from the original actions, recorded by contemporaries, the deeds and thoughts recorded lose their freshness and immediacy. Secondary and tertiary sources are often the cause behind the "history is boring" reputation. After all, novels are exciting for their attention to detail, their focus on action and consequence.

History is the story of murder, betrayal, love, greed, tenderness, and lofty dreams for humanity. Well- researched, well-written history is "edge of the seat" exciting and explains where modern attitudes and problems came from.

Next time, I promise, I'll talk about Dracula himself.

The s*** just got real.

History gives contexts for contemporary problems. How can we hope to overcome hatred and violence without knowing where that anger came from?

When you study history, you not only learn who you are. You learn how how the world works. And that is no small task, both for the student and the teacher.

Back in 1970, David Hackett Fischer demanded more from historians than what we had been doing for decades. This quote from his book, Historian's Fallacies, demands that we put ourselves out there for the world.

[N]othing is more necessary to the peace of the world. Let us have no romantic humbug about brotherhood and humanity. What is at stake is not goodness, but survival.

Men must learn to live in peace with other men if they are to live at all. The difficulties which humanity has experienced in this respect flow partly from failures of intellect and understanding. Historical knowledge may help as a remedy- not a panacea, but a partial remedy. And if this is to happen, professional historians must hold something more than a private conversation with themselves. They must reach millions...and they will never do so through monographs, lectures, and learned journals.

I doubt that they can hope to accomplish this object by literary history or by the present forms of popular history. Instead, they must begin to exploit the most effective media of mass communication - television, radio, motion pictures, newspapers, etc. They cannot assign this task to middlemen. If the message is left to communications specialists, it is sure to be garbled in transmission.
(p. 316)

No pressure, David. :)

This quote has guided how I felt about history since I first read it in graduate school. I hope it gives you some idea on why I like to write fiction with a strong historical bent and why I'm starting this series.

Next up:

Delving into Vlad Tepes, and why I wanted to write Dracula's Secret.


Photo of Dr. Fischer from www.historians.org.
Doesn't he look like he'd demand the best of you?

Opening quote shamelessly stolen from Hot Fuzz. Who stole it from other people.