ET says she began writing to assuage loneliness. Before the turn of the century she was publishing in the Evangelical Magazine and other religious periodicals. The Lark appeared there, in the Theological Magazine, and in Poetical Gleanings. She used the initals E. T., and seems to have reprinted many of these poems in her later volume.

A collection of pieces by JMS (some written for newspapers) were posthumously published as In Wicklow, West Kerry, and Connemara, again with drawings by Jack Yeats .

In September that year she contributed an article on careers designed for child readers to Mine, A Magazine for All who are Young.

Growing up the daughter of journalist parents, Mary Waddington (later MS ) was a journalist in her play as a small child. She told her dolls, I have some copy to write now. Her first newspaper report, dating from some time in 1925 was one of a schoolchildren's concert. Within a few years, working for the Co-operative Press , she was writing not only reports but also serial fiction and lives of pioneer feminists. She produced a best-selling pamphlet, The People in Business, setting out the philosophy and purpose of the co-operative movement, and later an unpublished, much-circulated Miss Waddington's Guide to Sub-Editors. Working for The Guardian, she found and kept the Mainly for Women page like a sort of club for many readers. She drew heavily on contributions from nonprofessional readers, but also initiated a signed opinion column (a first for The Guardian) which drew writing from Marghanita Laski , Taya Zinkin , Margaret Drabble , Gillian Tindall , and MPs Lena Jeger (who was eventually poached for the back page) and Shirley Williams .

MS published for the Author, through her father 's firm , a work which had first appeared in the Morning Post: The Widow and Her Orphan Family, An Elegy.

CSJ contributed several pieces to the Green Sheaf, a magazine founded by Pamela Colman Smith in 1903. After Sir Henry Irving died, on 13 October 1905 (an event which indirectly triggered her career of suffrage activity), she wrote on him for this journal. She published A Little Book of Polish Saints in 1918.

GBS first reached print with a poem about Pierrot, published in Novel Magazine.

Apart from novels, Steele also produced at least one short story, Mrs. Maurice, which appeared in Temple Bar in July 1868. The titular Jenny Maurice takes the blame on herself by confessing to a murder committed by her lover, only to have the lover run away with another woman. Freed from imputation of crime at last by a mysterious letter, Mrs. Maurice kills herself in despair over her faithless lover.

Throughout her career ES composed articles for several journals including the Contemporary Review, Fraser's Magazine, and the Fortnightly Review. Her article College Education for Women appeared in August 1870 and Schools of the Future in June 1871. She also composed an article on Girton College in July 1873.

CS began writing as a child, and her parents were excited when she got herself published in her highschool newspaper. At this stage she used to say she would one day publish a novel, but she had no idea how to make this happen.Some of her juvenile writings are included (along with others by Greg Hollingshead , Aritha van Herk , and Rudy Wiebe ) in Early Voices, published by the Juvenilia Press in 2001.

After September 11, 2001, KS began to be solicited by journalists writing on the World Trade Center attacks because of her Pakistani background. She describes her entry into journalism as a case of being in the wrong religion at the right time. She began writing for newspapers, drawing on her political understanding and her knowledge of Pakistan and Afghanistan to correct misinformed claims about those regions. She has been a frequent contributor to The Guardian, but has also published contributions in The New York Times, Dawn in Pakistan, and The Daily Star in Bangladesh.

EJS began writing poetry in early childhood because of a love of meter and rhyme. As an undergraduate at Oxford she was placing her poetry in university journals. She was one of the few women to be included in Oxford Poetry, and she was for a while editor of the literary journal Fritillary, which was produced by students at Somerville College . She was, however, nervous about publication during the 1930s, when the dominant mode for poetry was that of veiled or direct political comment favoured by W. H. Auden and others.

The Gentleman's Magazine printed MS 's Verses Addressed to Miss Seward , on the Publication of her Monody on Major André.

CADS frequently wrote reviews, poems, articles and short stories for periodicals. These were an important source of income for her, especially after she started to live independently from her husband during the First World War.

After leaving her husband and while living in Paris with her lover Jules Sandeau , GS took on her first job, that of writing for the journal Figaro, but also doggedly pursued a more literary life. She received seven francs for each column. With a manuscript in hand, she appealed for financial support to a member of the Académie Française and was told: Do not make books, make children.

It is dedicated To Adelaide (who has not been identified). Many of the poems had previously appeared in journals such as the Nation, Everyman, The Sphere, Form, and the Times. A Memory from this volume and Sacrament from Collected Poems were reprinted by Catherine Reilly in Scars Upon My Heart, 1981.

MLR started to gain writing experience while she was still acting, in the USA as well as in Britain. Along with writing short stories and sketches for magazines, she also did uncredited hack work for the McCaull Opera Company . She had the ability to write songs and make adjustments to scenes very quickly. Three plays, Fairy's Fortune, 1886, and Blue Blood and Lady Jemima, both 1888, written under the pseudonym Noel Grant, are most likely MLR 's earliest works, as they were copyrighted by her husband .

DR contributed to many publications, political and other, throughout her career. She wrote for Cambridge Magazine, El Sol (Madrid), and the Sunday Chronicle. Through her work with the Women's International Democratic Federation and the Women's Caravan of Peace , for instance, she co-authored manifestoes, pamphlets, press releases, and other public texts.

NRS began her literary career with reviewing, and continued to contribute to periodicals. At one time she was art critic for The Queen. During the Second World War she reviewed almost weekly for the Times Literary Supplement She told T. S. Eliot in 1916 that she could read and review six novels in an evening, and advised him to do the same. This was in her capacity as literary editor of the Weekly Westminster Gazette, which paid half a crown . . . per each short notice of six or eight lines.

Years before her diary was known to the world, IHR published in Chambers' Edinburgh Journal, under her initials, a poem titled Lines Addressed to a Miniature. By a Lady.

The first publication by ER appeared: Across America with Junius Brutus Booth, in The Universal Review.

In the later 1930s she reviewed books for the Yorkshire Post for the sake of the money; during the second world war she reviewed for Time and Tide, and later for the Manchester Guardian.

She apparently began to write for a readership after giving up the aim of a musical career, by producing contributions for an unnamed friend's manuscript magazine. Her first attempt was Christmas in Australia, an essay in the humourist style of Charles Lamb . She moved beyond this journal's comfort zone with a critique of Ibsen 's highly controversial The Master Builder and a proposed serial translation of J. P. Jacobsen 's Danish Niels Lyhne. At this point her fiancé intervened, advising that her translation (done from an interim German version of the Danish) was worthy of a better outlet, and suggesting mainstream publication. She found that sitting alone in a room of her own and writing gave her intense pleasure. Her English version of Niels Lyhne (entitled Siren Voices) was offered to Heinemann in 1894, accepted with a payment of forty pounds, and published by them, with her The Fisher Lass (from Bjørnstjerne Bjørnson 's Norwegian Fiskerjenten), in 1896. She developed a deeply-felt admiration for Jacobsen and tried to render every nuance of his style. She used her real name on these translations: Ethel F. L. Robertson.

MR had a poem published in the Oxford undergraduate magazine Fritillary.