From the mid-1930s until the mid-1940s, Ackland published many of her early poems in the New Republic, New Masses, and The New Yorker. At that time Edmund Wilson , among others, appreciated her poetry. She always considered herself a poet, and wanted recognition only for her poems, not for herself. After World War Two, her poetry appeared comparatively dated, and she was saddened when her later poems went unrecognised.Sylvia Townsend Warner published several collections of Ackland's poetry posthumously, which together represent more than ever appeared during Warner's lifetime.

NA 's short stories have appeared in the magazine Prospect, on BBC Radio 4 , and in various anthologies.

Meanwhile the first work MA read aloud at a Guild meeting was a play, One Life. One Love.. For her second reading she promised a new short story, since Killens told her this was the most impossible of all the impossible genres. This story was her first work to reach print, in Cuba, in a magazine called Revolución.

LCA 's first published writing, an article entitled How to sit for your portrait, appeared in the Times; she had written it at the suggestion of Marie Belloc Lowndes , who admired her style and knew she needed cash.

She also had a non-fiction travel piece about Yugoslavia published in 1960, in a new American journal called First Person.

While working for Frank Harris on Hearth and Home in 1912-13, EB wrote various dreadful articles (as she later put it) including one entitled Young Women Writers: Miss Rosalind Murray and Miss Katherine Mansfield.

Robert Anderson 's Edinburgh Magazine published work by AB under the pseudonym Augusta: two sonnets and a verse translation from Rousseau .

LB 's epistolary reportage of the British Association 's meeting at Montreal in Canada appeared in the Manchester Examiner and Times.

The Cornhill Magazine published A Tuscan Village—A Tuscan Sanctuary, IB 's colourful description of her time in Pelago and Vallombrosa near Florence.

The first story which EB completed was Breakfast, published in her first collection. She had not yet read the most respected short stories of recent years; her biographer Victoria Glendinning says she was very much on her own.Naomi Royde-Smith , then editor of the Saturday Westminster, took some of EB 's early articles at the time that Bowen was taking her journalism course.

CBR wrote criticism and reviews since 1947, often anonymously. Between 1956 and 1968 she freelanced at literary journalism and published on a wide range of topics in diverse journals. For the London Magazine, she wrote pieces such as Samuel Beckett and the Anti-Novel (December 1958), Buzzards, Bloody Owls and One Hawk (September 1961), and Lady Precious Stream (May 1964). Her contributions to the Times Literary Supplement included The Critic's Eye (20 March 1959), Southey Ends His Song (1 April 1960), and Anatomy of Originophobia (19 May 1961). She also wrote for the Times, the Spectator, and Le Monde.

Bryher began writing reviews and articles for the Sphere (which was owned by her father, John Reeves Ellerman ) and the Saturday Review.

Frances Hodgson (later FHB ) first reached print, in Godey's Lady's Magazine, with a story entitled Hearts and Diamonds; this was closely followed in October by Miss Carruthers' Engagement.

Some of these poems had already appeared in journals such as Poetry Ireland Review and Lines Review. Some had already been aired on Poetry Now, a BBC radio programme. In 1994 CB published a German-English parallel text selection of these poems under the title The Three She's, translated and introduced by Hans Bernhard Schiff .

Between 1813 and 1852 DPC , writing as Ora of Thule, contributed fifty-eight poems (in varied stanza forms) and tales to this periodical, many of them uncollected and only recently identified as hers. Constance Walker , their discoverer, provides a complete list, and has also found some printing of Campbell's work in other journals.

Catherine Macfarlane (later CC ) began reviewing novels for the Glasgow Herald while living in Glasgow; she later continued this work in London.

MC 's first published work, a short story entitled All is Fair in Love and War, appeared in The Graphic.

Four of GC 's poems were included in the sixth volume of Poetry Wales: the first of her work that reached print.

EMC 's first published work seems to have been in the German periodical Das Judenthum in der Musik in 1869. Her first works published closer to home appeared some time later.

This was volume 4 in the Uniform Edition of Colette in English. Sido (then entitled Sido ou les points cardinaux) made its first appearance in La Revue hebdomadaire on 22 and 29 June 1929.

Very soon after the appearance of her first volume, if not before, EC was successfully submitting poems to the Weekly Dispatch, the Metropolitan Magazine, The New Monthly Magazine, and the Literary Gazette. She used her initials as signature, and many readers supposed these poems to be the work of a man.

Many of these poems first appeared in newspapers and periodicals: the Daily Telegraph, The Guardian, The Independent, Oxford Poetry, Poetry Review, and so on, and one pseudonymously as a submission to a contest in The Spectator. Others appeared in Poetry Book Society anthologies, or were commissioned: by the Canadian Broadcasting Corporation (CBC) or the Tate Gallery . Some are said to belong to Strugnell's Song Cycle, an unfinished work in collaboration with Colin Matthews , composer of its music. A cover decoration by cartoonist Posy Simmonds depicts a teddy bear (that is Roger Bear, who figures in two poems here) reading T. S. Eliot 's Notes Towards the Definition of Culture. A sound recording of this work appeared in 1997, and the book was re-issued in 2001.

In this retirement-poem she responded to a poetic contributor to the Gentleman's Magazine. The magazine printed it the same month as one of a pair signed Harriot Airy. The other, To Mr. Copywell, is quite different in tone. In answer to another pseudonymous contributor (writer and compiler William Woty ) MWD sends him a comic, cheeky near-proposition. She had found an outlet: she sent more poems to the Gentleman's Magazine (including another answer to Woty). Later she began to do this under her real name.

One of ED 's earliest pieces, a letter to a newspaper in Newcastle-on-Tyne from 1860, exhibits her lifelong preoccupations.