Next to being a novelist MacGrath is a globe-trotter. He has been in every nook and corner on the face of the globe where white man dares to go and can get there without swimming or flying. As a result, he has obtained the inspirations for most of his novels while amid the fascinating surroundings in some Asiatic harbor town, while traveling down the Rhine, or while listening to strains of Viennese music in some little out-of-the-way cafe along the Danube. He is a genius in pen picturing and can impart the color, the life, the action of real life into his pages in a manner that is bound to attract.
He is fond of tennis and out-of-door sports. He likes boxing and is one of the best amateur pool and billiard players in the country. He has friends in almost every large city in the world and has met more "crowned heads" than any other author, perhaps, outside of Hallie Erminie Rives, wife of Post Wheeler, the versatile secretary of the American Embassy at Tokio.
As a collector and connoisseur, Mr. MacGrath has a wide reputation, his especial hobby being Turkish rugs and antique jewelry, of which he has a wonderful collection. Another of his hobbies is horses, and although he owns only one himself, he will never pass a good looking horse by without stopping to pat it. He even carries lump sugar in his pocket and takes great delight in feeding it to the horses of the mounted officers in New York, many of whom (the officers) know him.
His method of working up his stories is unique. According to his own statement, he first "thinks out" the start of his story, carrying his idea through what develops into the first few chapters of the book. Then he drops the thread of thought and starts again, but this time at the end, and figures out how he will dispose of his characters and how best the story should end. This accomplished, he sits down to his typewriter and "goes to work." While writing, he often strikes on good ideas to be incorporated in parts already considered. Immediately he jots down his idea on the back of an envelope or a scrap of paper and inserts the note among the pages of his manuscript just where it belongs After completing his first draft, he goes back over the entire manuscript, making corrections here and there and additions. He then sits down to sum the whole story up in his mind and by this process is able to pick out the flaws. His second draft, therefore, is quite a finished product. He makes the final draft of his manuscript himself, as he has found that he often strikes upon improvements at the eleventh hour that go far to better his stories. If he turned the work of making the final draft over to a stenographer, this last chance would be lost.
He is one of the few modern writers who does not have to try to be funny. It is natural with him to amuse.
Those interested in the chronological order of his stories will find them as follows:
In 1901 he published his second book, "The Puppet Crown." "The Grey Cloak" followed in 1903, and by the time it appeared, most of the readers of fiction had acquired the MacGrath habit and were on the lookout for the next dose of his delightful literary stimulant that chased the "blues." Then came the story which established MacGrath's reputation, "The Man on the Box," which appeared in 1904 and is still one of the best sellers in popular editions. In 1905 MacGrath put on some extra speed. He worked a double shift in his brain mill and the result was that before the dawn of the next New Year's Day he had three more successful books to his credit. They were "The Princess Elopes," a novelette; "Enchantment," a book of short stories, and "Hearts and Masks," a novel that dealt with entanglements developing at a mask ball. In the same year he wrote "Half a Rogue," another highly popular story. In 1906 he turned out "The Watteau Shepherdess," an operetta. These two productions were followed by "The Best Man" in 1907; "The Enchanted Hat" and "The Lure of the Mask" in 1908. "The Goose Girl" was MacGrath's next novel, and went far to uphold his reputation. "A Splendid Hazard" and "The Carpet of Bagdad" followed within the space of little more than a year. Next "The Place of Honeymoons" was published, then "Parrot & Co.," "Deuces Wild," "Pidgin Island," "The Adventures of Kathlyn," and "Voice in the Fog."
The "purpose novel," as that term is generally understood, finds but little sympathy at the hands of Harold MacGrath. Yet he has a definite purpose of his own. It is to amuse.
"The one definite idea I have in mind in writing stories," he says, "is to afford an agreeable, pleasant hour or two to my readers. I wish to amuse them, to make them wish that they, too, might have lived as this or that hero, in this or that land, probable or improbable. I prefer sunshine, mirth, buoyancy, and I believe most readers prefer the same. Grown-up people never wholly lose their love of fairy tales; and grown up fairy tales have been the scheme of most of my novels."
Could an author have a better purpose than this? Could he serve men to better advantage than by lightening the burden they are destined to carry through life by allowing their minds to dwell in pleasant places and to rejoice with the people of a make-believe world?