The character of Nancy Drew has gone through many permutations over the years. The Nancy Drew Mystery Stories were revised beginning in 1959; many commentators agree that Nancy's character changed significantly from the original Nancy of the 1930s and 1940s. Commentators also often see a difference between the Nancy Drew of the Nancy Drew Mystery Stories, the Nancy of the Nancy Drew Files, and the Nancy of the recent Girl Detective series. Nevertheless, some commentators find no significant difference between the different permutations of Nancy Drew, finding Nancy to be simply a good role model for girls. Despite revisions, "[w]hat hasn't changed, however, are [Nancy's] basic values, her goals, her humility, and her magical gift for having at least nine lives. For more than six decades, her essence has remained intact." Nancy is a "teen detective queen" who
offers girl readers something more than action-packed adventure: she gives them something original. Convention has it that girls are passive, respectful, and emotional, but with the energy of a girl shot out of a cannon, Nancy bends conventions and acts out every girl's fantasies of power.
Other commentators see Nancy as "a paradox...which may be why feminists can laud her as a formative 'girl power' icon and conservatives can love her well-scrubbed middle-class values."
1930—1959
Nancy Drew is depicted as an independent-minded 16-year-old who has already completed her high school education (16 was the minimum age for graduation at the time). Apparently affluent, she maintains an active social, volunteer, and sleuthing schedule, as well as participating in athletics and the arts, but is never shown as working for a living or acquiring job skills. Nancy is affected neither by the Great Depression...although many of the characters in her early cases need assistance as they are poverty-stricken...nor by World War II. Nancy lives with her lawyer father, Carson Drew, and their housekeeper, Mrs. Hannah Gruen. Some critics prefer the Nancy of these volumes, largely written by Mildred Benson. Benson is credited with "[breathing] ... a feisty spirit into Nancy's character." The original Nancy Drew is sometimes claimed "to be a lot like [Benson] herself — confident, competent, and totally independent, quite unlike the cardboard character that [Edward] Stratemeyer had outlined."
This original Nancy is frequently outspoken and authoritative, so much so that Edward Stratemeyer told Benson that the character was "much too flip, and would never be well-received." The editors at Grosset & Dunlap disagreed, but Benson also faced criticism from her next Stratemeyer Syndicate editor, Harriet Adams, who felt that Benson should make Nancy's character more "sympathetic, kind-hearted and lovable." Adams repeatedly asked Benson to, in Benson's words, "make the sleuth less bold ... 'Nancy said' became 'Nancy said sweetly,' 'she said kindly,' and the like, all designed to produce a less abrasive more caring type of character." Many readers and commentators, however, admire this original Nancy's outspoken character.
A prominent critic of the Nancy Drew character, at least the Nancy of these early Nancy Drew Mystery Stories, is mystery writer Bobbie Ann Mason. Mason contends that Nancy owes her popularity largely to "the appeal of her high-class advantages." Mason also criticizes the series for its racism and classism, arguing that Nancy is the upper-class WASP defender of a "fading aristocracy, threatened by the restless lower classes." Mason further contends that the
most appealing elements of these daredevil girl sleuth adventure books are (secretly) of this kind: tea and fancy cakes, romantic settings, food eaten in quaint places (never a Ho-Jo's), delicious pauses that refresh, old-fashioned picnics in the woods, precious jewels and heirlooms.... The word dainty is a subversive affirmation of a feminized universe.
At bottom, says Mason, the character of Nancy Drew is that of a girl who is able to be "perfect" because she is "free, white, and sixteen" and whose "stories seem to satisfy two standards — adventure and domesticity. But adventure is the superstructure, domesticity the bedrock."
Others argue that
Nancy, despite her traditionally feminine attributes, such as good looks, a variety of clothes for all social occasions, and an awareness of good housekeeping, is often praised for her seemingly masculine traits ... she operates best independently, has the freedom and money to do as she pleases, and outside of a telephone call or two home, seems to live for solving mysteries rather than participating in family life.
1959—1979
At the insistence of publishers Grosset & Dunlap, the Nancy Drew Mystery Stories were revised beginning in 1959, both to make the books more modern and to eliminate racist stereotypes. Although Harriet Adams felt that these changes were unnecessary, she oversaw a complete overhaul of the series, as well as writing new volumes in keeping with the new guidelines laid down by Grosset & Dunlap. The series did not so much eliminate racial stereotypes, however, as eliminate non-white characters altogether. For example, in the original version of
The Hidden Window Mystery (1956), Nancy visits friends in the south whose African-American servant, "lovable old Beulah[,] serves squabs, sweet potatoes, corn pudding, piping hot biscuits, and strawberry shortcake." The mistress of the house waits until Beulah has left the room and then says to Nancy, "I try to make things easier for Beulah but she insists on cooking and serving everything the old-fashioned way. I must confess, though, that I love it." In the revised version (1975), Beulah becomes Anna, a "plump, smiling housekeeper" whose race is not made explicit.
Many other changes were relatively minor. Nancy's age was raised from 16 to 18, her mother was said to have died when Nancy was three, rather than ten, and other small changes were made. Housekeeper Hannah Gruen, sent off to the kitchen in early stories, became less of a servant and more of a mother surrogate.
Many claim that Nancy's character also changed significantly: "The character of Nancy Drew also underwent a dramatic change: the strong-willed teen was having her personality diluted, causing her to lose her characteristic independence," making Nancy Drew more docile, conventional, and demure. The books were also shortened from 25 chapters to 20, quickening the narrative pace. Some commentators are less concerned about the attempted elimination of racial stereotypes from these books than about the more choppy writing style:
The revisions shortened the books and left out a lot of the prejudices and stereotypes from the original text volumes. They also quickened the pace of the texts. The originals really develop the story, the scenes, and the characters in much more detail than do the revised texts. Consequently, most collectors who grew up with the originals would not have the revised texts for anything!
Other critics see the Nancy of the 1950s, 1960s, and 1970s as an improvement in some ways, a step back in others:
In these new editions, an array of elements had been modified...and most of the more overt elements of racism had been excised. In an often overlooked alteration, however, the tomboyishness of the text's title character was also tamed.
Nancy becomes much more respectful of male authority figures in the 1950s, 1960s, and 1970s, leading some to claim that the revised Nancy simply becomes too agreeable: "[I]n her new incarnation, Nancy was leveled out, homogenized.... In the revised books, Nancy is relentlessly upbeat, puts up with her father's increasingly protective tendencies, and, when asked if she goes to church in the 1969
The Clue of the Tapping Heels, replies, 'As often as I can' ... Nancy learns to hold her tongue; she doesn't sass the dumb cops like she used to."
1980—2003
After Harriet Adams died in 1982, her protegé, Nancy Axelrad, oversaw production of the Nancy Drew books briefly before the Stratemeyer Syndicate was sold to Simon and Schuster. Simon and Schuster turned to book packager Mega-Books for new writers. The books and Nancy's character began to change as a result, although there is disagreement on the nature of this change. Some contend that Nancy's character becomes "more like Mildred Wirt Benson's original heroine than any [version] since 1956." Others criticize the series for its increasing incorporation of romance and "[dilution] of pre-feminist moxie." For example, volume 78 in the series
Update on Crime (1985) opens with Nancy wondering in italics, "
Am I or am I not in love with Ned Nickerson?" Nancy begins dating other young men and acknowledges sexual desires: "'I saw [you kissing him] ... You don't have to apologize to me if some guy turns you on.' 'Gianni
doesn't turn me on! ... Won't you please let me explain.'"
In 1986, the character of Nancy Drew was used in a new series, the Nancy Drew Files, which lasted until 1997. The Nancy of the Nancy Drew Files is also interested in romance and boys, a fact which led to much criticism of the series: "Millie [Mildred Wirt Benson] purists tend to look askance upon the Files series, in which fleeting pecks bestowed on Nancy by her longtime steady, Ned Nickerson, give way to lingering embraces in a Jacuzzi." Cover art for Files titles, such as
Hit and Run Holiday (1986), reflects these changes; Nancy is often dressed provocatively, in short skirts, shirts that reveal her stomach or breasts, or a bathing suit. She is always pictured with an attentive, handsome male in the background, and frequently appears aware of and interested in that male. Nancy also becomes more vulnerable, being often chloroformed into unconsciousness, or defenseless against chokeholds. The books place more emphasis on violence and character relationships.
Nancy Drew finally went to college in the Nancy Drew On Campus series, which ran from 1995 to 1998. Again, the books focused on romance plots, and, by reader request, Nancy broke off her long-term relationship with boyfriend Ned Nickerson in the second volume of the series,
On Her Own (1995).
2004—present
In 2003, publishers Simon and Schuster decided to end the Nancy Drew Mystery Stories series and feature Nancy's character in a new mystery series, Girl Detective. The Nancy Drew of the Girl Detective series drives a hybrid car, uses a cell phone, and recounts her mysteries in the first person. Many applaud these changes, arguing that Nancy has not really changed at all other than learning to use a cell phone. Others praise the series as more realistic; Nancy, these commentators argue, is now a less-perfect and therefore more likable being, one whom girls can more easily relate to — a better role model than the old Nancy because she can actually be emulated, rather than a "prissy automaton of perfection."
Some vociferously lament the changes, seeing Nancy as a silly, air-headed girl whose trivial adventures (discovering who squished the squash in
Without a Trace [2003]) "hold a shallow mirror to a pre-teen's world." Leona Fisher argues that the new series portrays an increasingly white River Heights, partially because "the clumsy first-person narrative voice makes it nearly impossible to interlace external authorial attitudes into the discourse," while it continues and worsens "the implicitly xenophobic cultural representations of racial, ethnic, and linguistic others" by introducing gratuitous speculations on characters' national and ethnic origins.
The character is also the heroine of a series of graphic novels, begun in 2005 and produced by Papercutz. The graphic novels are written by Stefan Petrucha and illustrated in manga-style artwork by Sho Murase. The character's graphic novel incarnation has been described as "a fun, sassy, modern-day teen who is still hot on the heels of criminals."