An Edgar Award Winner for Best Biography and a Chicago Tribune Best Book of the Year
The plucky “titian-haired” sleuth solved her first mystery in 1930—and eighty million books later, Nancy Drew has survived the Depression, World War II, and the sixties (when she was taken up with a vengeance by women’s libbers) to enter the pantheon of American culture. As beloved by girls today as she was by their grandmothers, Nancy Drew has both inspired and reflected the changes in her readers’ lives. Here, in a narrative with all the page-turning pace of Nancy’s adventures, Melanie Rehak solves an enduring literary mystery: Who created Nancy Drew? And how did she go from pulp heroine to icon?
The brainchild of children’s book mogul Edward Stratemeyer, Nancy was brought to life by two women: Mildred Wirt Benson, a pioneering journalist from Iowa, and Harriet Stratemeyer Adams, a well-bred wife and mother who took over her father’s business empire as CEO. In this century-spanning, “absorbing and delightful” story, the author traces their roles—and Nancy’s—in forging the modern American woman (The Wall Street Journal).
“It’s truly fun to see behind the scenes of the girl sleuth’s creation.” —Publishers Weekly
“As much a social history of the times as a book about the popular series . . . Those who followed the many adventures of Nancy Drew and her friends will be fascinated with the behind-the-scenes stories of just who Carolyn Keene really was.” —School Library Journal
“Sheds light on perhaps the most successful writing franchise of all time and also the cultural and historic changes through which it passed. Grab your flashlights, girls. The mystery of Carolyn Keene is about to begin.” —Karen Joy Fowler
About the Author
Read an Excerpt
The Stratemeyer Clan
These suggestions are for a new series for girls verging on novels. 224 pages, to retail at fifty cents. I have called this line the "Stella Strong Stories," but they might also be called "Diana Drew Stories," "Diana Dare Stories," "Nan Nelson Stories," "Nan Drew Stories" or "Helen Hale Stories" . . .
Stella Strong, a girl of sixteen, is the daughter of a District Attorney of many years standing. He is a widower and often talks over his affairs with Stella and the girl was present during many interviews her father had with noted detectives and at the solving of many intricate mysteries. Then, quite unexpectedly, Stella plunged into some mysteries of her own and found herself wound up in a series of exciting situations. An up-to-date American girl at her best, bright, clever, resourceful and full of energy.
IN SEPTEMBER of 1929 children's book mogul Edward Stratemeyer sent one of his inimitable typed memos to Grosset & Dunlap, his longtime publisher, describing a new line of books he hoped they would launch the following spring. Though he proved to have an uncharacteristically tin ear when it came to choosing a name for his heroine- any other option on his list of possibilities had a better ring to it than "Stella"-his sense of her life and her intrepid personality were flawless. While they had no way of knowing that Stratemeyer's girl detective would eventually become a celebrity not only in the children's book world but in the world at large, Grosset & Dunlap's editors certainly knew a good thing when they saw it. They accepted Stratemeyer's series on the basis of his memo, which also included brief plotlines for the first five books in the series, and his reputation, which, by the time "Nan Drew" burst on to the scene with her fashionable outfits and boundless intelligence, had been the source of admiration and envy-and a great fortune for Stratemeyer-for several decades. When his latest proposal reached their Manhattan office, he had been writing for children for more than forty years and was so steeped in the idiom of his chosen genre that he had given even the events of his own life-which were rather straightforward and businesslike when it came down to it-the sheen and thrill of a juvenile story.
This transformation had begun at the moment of his first serious publication in a children's story paper in November of 1889. It was a fanciful tale called "Victor Horton's Idea," and it told of a boy who went out into the world to live life-unsuccessfully, it would transpire-like the characters in his favorite dime novels.
Victor was fifteen years old, naturally bright and lively, and if he had not held so high of an opinion of himself, he would have been a first-rate lad.
Besides being conceited, Victor was dissatisfied with the quietness of country life. He longed to go forth into the great world and achieve fame and fortune.
Now, though this idea is often a very laudable one, it was not so in the present instance. Victor's idea upon the subject had been gathered wholly from the pages of numerous dime novels and disreputable story papers loaned him by his particular crony, Sam Wilson, and was, therefore, of a deceptive and unsubstantial nature, and likely to do more harm than good.
The details of Victor's exploits appeared in installments over five weeks, crammed into the narrow columns of a richly illustrated black-and-white children's broadsheet out of Philadelphia called Golden Days for Boys and Girls (subscription price $3 per annum). Alongside them ran informative articles with titles like "How to Make a Guitar" ("Those who have read the articles on 'Violin Making' and have succeeded in making one would, perhaps, like to make a guitar if they knew what a simple matter it is"); interesting trivia; and true stories about heroic rescues of humans by dogs.
Stratemeyer was twenty-six years old, tall, slender, and bespectacled, with a brushy mustache, dark hair combed back off a high forehead, and a preternatural instinct for the arc of a good tale for young people. He had, according to one news report, "a scholarly appearance . . . and his eyes are a trifle contracted from constant application to his work." Indeed, in person, Stratemeyer betrayed no signs of the flights of fancy that had produced Victor and would go on to invent countless other young scalawags, heroes, and heroines over the next forty years. As one reporter would later describe him, he was "a tranquil-faced man, with kind, good-humored eyes . . . [and] a curiously deliberate manner of speaking. One doubts if he has ever been hurried into a decision or ever given an answer to a question without earnest consideration." He also had a healthy sense of perspective on his chosen field. By the end of Victor Horton's travails, the young man announces to his hapless friend Sam: "Dime novels are a first-class fraud!"
Nonetheless, they were the field that Stratemeyer aimed to get into. Myth had it that he had written "Victor Horton's Idea" on a sheet of brown package paper during quiet moments while clerking at his brother's tobacco store in Newark, New Jersey. In spite of having recorded very clearly in his own notes that he had written the story at home, Stratemeyer, knowing better than most the value of a good yarn, repeated the entertaining falsehood about its conception whenever he was asked to. As one news feature of the era printed it, complete with the final triumph of will and self-knowledge over discouragement:
His initial long story-18,000 words-was written on store wrapping paper and later copied onto white paper. The author, who was then twenty-five, was not satisfied with it so he laid it aside. After a year . . . he revised the manuscript carefully and sent it to Golden Days. The check for $75 he received Stratemeyer bore proudly to his father, Henry J. Stratemeyer. "Look at this," he said. The father, who had told him he was wasting his time writing the tale and might be better engaged in a more useful activity, regarded the check, then jerked up his glasses. "Why, it's a check made out to you!" he exclaimed. Stratemeyer explained he had received it for the story the parent had tried to discourage. "Paid you that for writing a story?" his father repeated. "Well, you'd better write a lot more of them."
In addition to his paycheck, Stratemeyer received something even more valuable: some sage-not to mention prophetic-advice from the editor of Golden Days. "I think you would become a good serial writer if you were to know just what was required, always remembering that each 'to be continued' must mark a holding point in the story." The young author not only took these words fully to heart, but would incorporate them, practically verbatim, into his own advice to writers for years to come.
Born on October 4, 1862, Edward Stratemeyer was the youngest of six children, three of them half-brothers, and all of them musically or artistically talented. His father, Henry Julius Stratemeyer, had come to the United States from Germany in 1837, along with a wave of German immigrants that only got larger and larger as the nineteenth century progressed. Many of them, including Henry Stratemeyer, headed out to the California coast in search of the shiniest, most tempting American dream of them all: gold. By 1851, though, Henry had mined more fool's gold than the actual metal, and he headed back east to Elizabeth, New Jersey, to visit his brother, George, also an émigré; his brother's wife, Anna; and the couple's three sons. Surrounded by family, Henry decided to stay in Elizabeth and settled into shopkeeping, advertising himself as a "wholesale and retail dealer in tobacco, cigars, snuff and pipes."
Two years after his brother's arrival in New Jersey, George Stratemeyer was stricken during a cholera epidemic. Knowing death was near, he asked Henry to stay in America and look after his family. Henry agreed, and in 1854, not long after George's death, he married his brother's widow, making his three nephews into his stepsons. Henry and Anna went on to have three more children: Louis Charles, born in 1856; Anna, born in 1859; and Edward, born in 1862. The family was well established in the cultured, comfortable merchant circle of Elizabeth and was barely touched by the War Between the States. Neither a military man nor a willing volunteer, the elder Stratemeyer had no trouble staying out of it.
As they grew, the Stratemeyer boys were put to work in their father's thriving tobacco store, in order that he might teach them the basics of commerce and, especially, entrepreneurship. The children also received musical training. Edward's sister, Anna, who would become an accomplished pianist, received her entire schooling at a prominent conservatory in town. Edward, on the other hand, was educated in the public schools of Elizabeth, and though he had an ear for music, too, preferred language. "You ask when I first wanted to become an author," he wrote to an acquaintance in 1919. "I think I must have been about six years old when I attempted to write my first story." He displayed an early interest in publishing, as well, running around his neighborhood with a toy printing press-an accoutrement that was all the rage at the time-turning out items for the pleasure of his friends and family. He would interview local residents about the goings-on in their lives during the week, then print up their answers in a newspaper that he sold back to them, at the price of one cent, on Saturday mornings.
Two chapbooks followed, with the entertaining, inscrutable titles That Bottle of Vinegar (1877) and The Tale of a Lumberman as Told by Himself (1878). The latter included, in bold black-and-white, the confident statement "E. STRATEMEYER PUBLISHER" on its cover. Stratemeyer was just sixteen years old, but he had grown up reading the books of Oliver Optic (the nom de plume of William T. Adams) and Horatio Alger, the two predominant boys' fiction authors of the period, and the adventure-filled, rags-to-riches stories, as well as their action-packed dime-novel counterparts, left an impression on him that lasted well into his adult years. As he recalled fondly in an interview: "I had quite a library, including many of Optic's and Alger's books. At seven or eight, when I was reading them, I said, 'If only I could write books like that I'd be the happiest person on earth.'"
Stratemeyer graduated from Elizabeth High School, the valedictorian of his class of three. Afterward, as was the norm for even a middle-class boy-only 1 percent of Americans attended college in the 1870s-he received two years of private tutoring in rhetoric, composition, and literature. He continued to combine clerking in a tobacco store-his brother Maurice's this time-with writing, refining his stories, and selling them to the story papers that were appearing all over the country, like the Penny Magazine (which paid him $1 for "A Horrible Crime"), the Experiment, and the Boys' Courier.
Copyright © 2005 by Melanie Rehak
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Table of ContentsThe Stratemeyer Clan 1
Alma Mater 48
Hawkeye Days 73
Nell Cody, Helen Hale, Diana Dare 90
Nancy Drew Land 110
Syndicate for Sale 126
An Unfortunate Break; or, The Cleveland Writer Comes into Her Own 140
Motherhood and Nancy Drew 168
"They Are Nancy" 197
The Kids Are Hep 224
Nancy in the Age of Aquarius 254
Will the Real Carolyn Keene Please Stand Up? 288
Most Helpful Customer Reviews
Nancy Drew has been a household name for decades. In the novel Girl Sleuth author Melanie Rehak explains how Nancy Drew came to character and exactly why she is what she is today. This novel went into great detail about the women who created her and the struggles and hardships they faced throughout their lives and throughout creating the tales of Nancy Drew. Nancy Drew was brought to life by the works of these ladies and became real to so many children not only then but now. Nancy Drew gave the inspiration and let every child believe that they could do anything they put their minds to. This novel took a trip back to the past and even as interesting as it was it was all the more educational, telling of the struggles that not only the creators of Nancy Drew faced but also the struggles of all women. This novel took a look inside many of the Nancy Drew tales and how they were created. There were many many women who influenced the creation of Nancy Drew and some men as well. This book was very well written and kept me engaged. It is also very impressive how well researched it is and how Melanie Rehak left no detail out. Though Nancy Drew may have been an extraordinary fictional character the tales of these women is nothing less than as real as real can be.
This was a selection of our book club and while I was interested (I loved Nancy Drew and can directly attribut my love of reading to her books), I was a bit concerned that it would be dull and dry. I needn't have worried.From the first page, the story of these remarkable women was interspersed with the history of their times and their lives. The early days of the fight for the right to vote, going to college at the turn of the century, making a living, holding down a job and taking care of a family.... does this sound old? I loved Nancy Drew as a child but the story of these woman was even more interesting than the story of Nancy. My one complaint would be that I would have like to see more pictures of these women adn their families and associates. Minor really. The book is well written, entertaining and well researched. My teen was writing a paper on the 19th amendment and found this book a wealth of info. Fascinating. Worth the read and more. Now I want to re-read those old Nancys!
This is an interesting biography in that Melanie Rehak looks into the creation of one of the most popular fictional detectives of all time, Nancy Drew and the creators who wrote the stories. As with the Hardy Boys, the Girl Detective story lines followed a precise formula to include fun but impossible twists and red herrings as well as escapes that MacGyver would have been proud to have made. Still Nancy Drew became and is an icon as the courageous teen willing to risk much for what she believes is right.................... Edward Stratemeyer, the genius who established the Rover Boys and the Bobbsey Twins novels, developed the formula (with help from his assistant) for a girl sleuth combining the Ruth Fielding tales with the boy detectives Hardy Boys. He hired journalist Mildred Wirt, who authored the Fielding books for him, to ghost write the Nancy Drew thrillers starting in 1930. She scribed the first dozen with an emphasis on an energetic never quitting Drew, who did not fear getting dirty. After Stratemeyer died, his daughter Harriet wrote the stories with a different but still energetic Drew that accentuated the teen¿s deportment as much as solving the mystery. Ms. Rehak provides a fun look behind the scenes that anyone who read (or watched the TV show) the Drew novels including this reviewer will appreciate................... Harriet Klausner
For the original baby boomers who turn sixty this year, 'Girl Sleuth' was a walk down memory lane. My mother's generation, my generation, my daughter's generation, and now my grandaughter's generation have loved and continue to love Nancy Drew. To finally have the complete story told in such a delightful manner has made the 'walk' that much better. I could share numerous stories connected with the reading of each book. The most important influence Nancy had on many of us was that we never doubted we could do or be anything! Long before the Women's Movement, I wanted to be a scientist (never a teacher or nurse). Unfortunately, I began my career in the sixties and that ment teaching not medicine. Thanks to Nancy, Elizabeth Blackwell, and Katherine Hepburn, I had the role models I needed and have had a successful career educating future female physicians and scientist. I am a sicence teacher. Next month I begin my thirty-fifth year of teaching. Thank you Melanie and Nancy for convincing me I lived up to the dream!
This just simply wasn¿t the book I wanted it to be. I loved Eating for Beginners so much but this didn¿t have that same fantastic wit that I¿d grown to love in EFB and the book was much more about feminism and women¿s suffrage than it was about Nancy Drew ¿ not an uninteresting topic, just not what I¿d been hoping to read and ultimately it felt more like that stodgy traditional ¿nonfiction¿ that I was forced to read in school.
I found this book entertaining and informative. It was a combination social history, an account of the development of group that became a powerfu forcee in children's fiction in the early 20th century, a little bit of biography of the principal people responsible for Nancy Drew¿s creation, and a lot about Nancy Drew and her mysteries, including how she was the product of the "rise of feminism" and also partly the impetus. I never realized the influence she had over the views of women from the time of the Depression through the rest of the 20th century. I just remember loving her books.A personal note: I was a huge Nancy Drew fan from the time I was eight until I was nearly thirteen, reading and rereading the 32 books I had collected during that time. The summer before I was to enter high school my Dad got transferred from California to Oregon and my folks did the packing while I was at summer camp. When we unpacked in Oregon I was horrified to find out Mom had given away my Nancy Drew books because she thought I had outgrown them. At the very end of this book I discovered I wasn¿t alone in this tragedy. ¿as a Washington, D.C., rock band called Tuscadero made clear in a 1995 song called ¿Nancy Drew.¿ Its lyrics recounted ¿horror of discovering your mother threw out your collection of the teenage sleuth¿s books.¿ (p. 310)
I enjoyed this account of two women and their complicated relationship, and their joint creation of the Nancy Drew series I read in younger days. These were women before their time, breaking barriers and persisting in their work even at times when women were expected to return to their homes. The author explains the historical context of women's roles in society throughout most of the 20th century in parallel with these womens' stories. I did find some of these history lessons boring, and would occasionally put the book down during these stretches. I always picked it back up though, to find out what happened to these women, and the author always returned to their more personal story.I'd recommend this for any fan of the intrepid Nancy Drew, and also to those interested in writing and publishing.
This was a well-written, fast-paced biography of fictional Nancy Drew and the two women who primarily wrote about her: Harriet Stratemeyer Adams and Mildred Wirt Benson. Benson emerges as the more sympathetic, though both women exemplify the confidence and perseverance for which Nancy is famous. I also learned many interesting tidbits about history and feminism.My only complaint was that the book started slowly, and didn't really address Nancy Drew as a topic until page 92 or so. The chapter on Harriet's college years at Wellesley was particularly excruciating, aside from an entertaining bit where Harriet, in a Nancy-like turn, exhibits bravery under pressure when a fire hits an important building at Wellesley. Other than the slow beginning, however, the book was perfect -- and may even spike Nancy Drew sales.
A little overly thorough at times, this was a fascinating look into the history of Nancy Drew and the people who created and shaped her.
Enjoyable read about authors(s) of Nancy Drew and the system of developing the books. Love this type of biographical look at women on the "fringes" of history. Well-written, fast-paced although it did start out a bit slow.
I LOVED this book!!! I *devoured* Nancy Drew as little girl, and found that I didn't miss having the idea of "Carolyn Keene" in my mind. The women who actually brought my favorite role-model to life were themselves interesting and quite fun to read about.I also enjoyed how Rehak showed how much changed in the series depending on which editions you were reading. I read the yellow hardback 1970s versions during the mid-90s, and knew Nancy as a titian-haired 19-year-old with a blue Mustang. But seeing how she evolved was one of the things I liked most about the book.
Very easy to read, I learned a lot about the lives of women working throughout the ages and the influence of Nancy Drew.