author

Margaret Penrose

Behind this byline was a lively corner of early 20th-century children’s fiction, packed with school adventures, road trips, and upbeat heroines. The name was used for several popular girls’ series created through the Stratemeyer Syndicate.

28 Audiobooks

Dorothy Dale's Camping Days

Dorothy Dale's Camping Days

by Margaret Penrose

The Motor Girls

The Motor Girls

by Margaret Penrose

Dorothy Dale to the rescue

Dorothy Dale to the rescue

by Margaret Penrose

The Motor Girls on a Tour

The Motor Girls on a Tour

by Margaret Penrose

Dorothy Dale in the City

Dorothy Dale in the City

by Margaret Penrose

Dorothy Dale's Queer Holidays

Dorothy Dale's Queer Holidays

by Margaret Penrose

Dorothy Dale's engagement

Dorothy Dale's engagement

by Margaret Penrose

Dorothy Dale: A Girl of To-Day

Dorothy Dale: A Girl of To-Day

by Margaret Penrose

Dorothy Dale's Promise

Dorothy Dale's Promise

by Margaret Penrose

Dorothy Dale and Her Chums

Dorothy Dale and Her Chums

by Margaret Penrose

Dorothy Dale's Great Secret

Dorothy Dale's Great Secret

by Margaret Penrose

Dorothy Dale in the West

Dorothy Dale in the West

by Margaret Penrose

Dorothy Dale's School Rivals

Dorothy Dale's School Rivals

by Margaret Penrose

About the author

Margaret Penrose was not a single writer but a house pseudonym used by the Stratemeyer Syndicate, the book-packaging company behind many classic American juvenile series. Under this name, books were published by Cupples & Leon for readers who loved fast-moving stories about capable, adventurous girls.

The name is associated with three main series: Dorothy Dale (published from 1908 to 1924), The Motor Girls (1910 to 1917), and The Radio Girls (1922 to 1924). Some later reprints of the Radio Girls books were retitled as Camp Fire Girls books.

Sources about the pseudonym note that the Dorothy Dale books were ghostwritten by several writers, with Lilian Garis identified as the principal author for much of the series. That makes Margaret Penrose an interesting example of how early popular series fiction was produced: not as the work of one public literary figure, but as a shared storytelling identity built to give young readers a dependable kind of fun.