Jacqueline Wilson rules out adult Tracy Beaker book as 'inappropriate'

Jacqueline Wilson draws a line: no adult Tracy Beaker

Jacqueline Wilson has ruled out writing an adult novel about Tracy Beaker, the character who helped redefine British children’s fiction in the 1990s. The 79-year-old author said turning Tracy into an adult-facing story would be “inappropriate,” a firm position that underlines how she sees the responsibilities that come with writing for young readers.

Wilson’s stance will land with anyone who grew up with The Story of Tracy Beaker, first published in 1991. The book — and the hit CBBC series that followed — told the story of a sharp, spirited girl growing up in care, and did it with honesty and warmth. It opened doors for stories about foster care, social workers, and complicated family lives, without talking down to children. That tone has carried through sequels such as The Dare Game and Starring Tracy Beaker, and later spin-offs that kept the focus on younger readers.

Some fans who met Tracy as kids are now adults themselves and curious about what a grown-up Tracy would look like on the page. Wilson has already explored that territory — but in a way designed for children. In My Mum Tracy Beaker (2018) and We Are The Beaker Girls (2019), Tracy is an adult and a mother, yet the narrator is her daughter Jess. The books keep the content firmly age-appropriate while letting long-time readers see Tracy’s life move forward. That choice mattered: it protected the voice of the series and kept trust with parents, teachers, and librarians who hand these books to children.

Why call an adult version inappropriate? Wilson has hinted at a simple reason: Tracy Beaker belongs to the children’s shelf. Mixing the character into adult storylines — with mature themes, language, and settings — risks confusing audiences and eroding the safe space that children’s fiction provides. Anyone who has ever watched a child pick up a familiar character by name will get the point. Brand recognition is powerful, and with children, it carries extra responsibility.

This is not a small issue in publishing. The industry has leaned hard into nostalgia: reboots, darker remakes, and grown-up spin-offs can be big business. But children’s authors work with a different compact. Their characters often become anchors for kids who are still figuring out home, school, and friendship. Turning those same characters into adult entertainment can feel like crossing wires. It’s easy to imagine a Tracy Beaker novel that chases the market. It’s much harder to imagine it serving the children who made her famous.

Tracy’s impact is tied to subject matter most books avoided when Wilson started out. Looked-after children saw themselves on the page. Readers who weren’t in care learned empathy without being lectured. Teachers used the books to open up frank conversations about placements, social services, and the meaning of family. The stories treated tough topics with care, humor, and a child’s-eye view — and that’s the lens Wilson is determined to keep.

Wilson’s refusal also fits her broader track record. Across more than 40 million books sold and a term as Children’s Laureate, she has stuck to a clear voice: direct, warm, and on the child’s side. While she’s written for older kids and teens, her most famous characters sit squarely in children’s literature. Holding that line avoids a messy dilemma for parents and schools over where to shelve a hypothetical “adult Tracy Beaker” — and what younger readers might stumble across when they go looking for their favorite character.

There’s another practical point. Story worlds evolve, but audience signals matter. With My Mum Tracy Beaker, Wilson found a neat solution: Tracy grows up, but the storytelling stays child-friendly. It gave original fans — now adults — a glimpse of Tracy’s adult life through her daughter’s eyes, while staying true to the series’ DNA. It’s a path that allowed continuity without turning the books into something they were never meant to be.

The TV adaptations made the same call. The Story of Tracy Beaker on CBBC, and later My Mum Tracy Beaker, kept the tone accessible for families. They offered nostalgia for older viewers without straying into adult-only territory. That balance is tricky, but it’s part of why the character still resonates across generations.

For publishers and producers, the temptation to age-up beloved IP isn’t going away. As streaming platforms and social media fuel demand for familiar names with a new twist, lines blur fast. Wilson’s position cuts against that tide. It says: not every character needs a darker, edgier reboot. Some are strongest when they remain a safe touchstone for the readers they were created for.

Wilson continues to publish new children’s books and draw huge audiences at school events and festivals. At 79, she remains one of Britain’s most recognizable writers, and her catalogue keeps finding new readers. Tracy Beaker, meanwhile, stays right where her creator wants her: in stories that speak to children first.

A wider conversation about growing up childhood icons

Wilson’s decision taps into a bigger conversation about what happens when childhood icons age. Some characters do move into adult spaces — especially once they hit the public domain — with results that swing from witty to jarring. But children’s literature sits apart because it’s built on trust as much as imagination. When a child asks for a Tracy Beaker book, adults know what they’re handing over. Wilson’s line in the sand keeps that promise intact.

Could there be more Tracy in the future? If Wilson’s recent choices are a guide, any new story will keep the viewpoint within reach of young readers, even if the characters grow older. That approach preserves the heart of the series — a candid, hopeful look at life from a child’s perspective — without blurring the boundary between children’s and adult fiction. For the millions who met Tracy in the pages of a well-thumbed school library copy, that’s exactly where she belongs.