FMP 's acquaintance with Charlotte Yonge began in connection with her writing for Yonge's Monthly Paper of Sunday Teaching a paper on the Jewish Sects (Old Testament, no doubt), which Yonge intended to publish by the end of 1861. On one occasion Yonge temporarily mislaid one of her contributions. Peard became a regular writer for her friend's The Monthly Packet, whose contributions included in 1868 a translated serial which ran from January to June, and a poem in the February number. Yonge requested from her for another journal, Events of the Month, a piece on Naples and Garibaldi , in a bright style that would interest people and not insult them by supposing them too ignorant.

MG was six when her five-page, semi-illegible saga on the life of an Indian woman teapicker won third prize in the Typhoo Tea Handwriting Competition (which despite its name must, she says, have disregarded writing for content) At ten she sent a book (twenty pages of writing paper) about a cowboy ranch to Mickey Mouse magazine, which printed it. She kept the school magazine (Horsham High School for Girls ) supplied for years with poems on topics like sunsets and autumn, gleaned from her reading of Tennyson , Arnold and even Swinburne .

EG wrote reviews of German and French literature for the Times and Blackwood's Magazine. She also contributed articles and stories to Blackwood's and other periodicals.

NG described her own sense of vocation: because I was a writer—for it's an early state of being, before a word has been written, and not an attribute of being published—I became witness to the unspoken in my society. In fact she was writing by the age of nine, as an act of self-realization: those who didn't share my tastes acted as a stimulus to make me express myself privately—on paper. At fifteen she published her first story, Come again tomorrow. Others followed it, in the children's supplement of Johannesburg's biggest newspaper. Once published, she said later, I had to find how to keep my integrity to the Word, the sacred charge of the writer. She believed that activism came to her writing very early, in a story called Ah, Woe Is Me, written at about eighteen. She published her first essay in the New Yorker in 1951, because I badly needed the money. Disliking separatism of all kinds, she made her publishers withdraw one of her novels from submission for the Orange Prize when she realised that the award was for women only. Years earlier, however, she had assured the fiction editor of the New Yorker that her use of male protagonists did not mean that she wanted to be a man.

MAH became a journalist, the first woman employed by The Economist, which was then under under the editorship of Francis Hirst .

MH 's poem entitled Invocation to the Nightingale (opening Wand'ring o'er the dewy meadow) appeared as by Miss Heys in the final volume of James Harrison 's collected Lady's Poetical Magazine.

Three poems by SH appeared in the New Statesman, whose editor was Karl Miller .

At seventeen, back in Texas before going to college, she thought at a film of A Midsummer-Night's Dream: Mendelssohn was no older when he wrote that overture. What a genius! At Barnard she wrote stories for the college magazine (which in her senior year she edited). One of these The Heroine, was later published in Harper's Bazaar and reprinted in Prize Stories: The O. Henry Awards. Another genre which she mastered early was scriptwriting for comic books.

Elspeth Grant (later EH ), still in her teens, reached print with a social account of a day out with the Makuyu Hunt in Kenya, carried by the East African Standard under the name of Bamboo.

SKturned her imaginative energy to poetry after her son was born. She began publishing in Australian journals, where she placed many poems.

During the Boer War in 1900, RK worked as associate editor and war correspondent for the Friend, a paper published in Bloemfontein, South Africa.

Mary Lamb 's essay entitled On Needle-Work appeared in print in the British Lady's Magazine under the name of Sempronia (which was probably borrowed from the feminist Mary Hays ).

The Proceedings of the American Antiquarian Society carried ADLP 's first article, Notes on Yucatan, with her name (Mrs. Alice D. Le Plongeon).

EL wrote articles for journals and contributed to works by others. Early in her writing career she found herself in desperate need of cash and sat up most of the night to write an essay on dress for submission to The Quiver, but was rejected.

As a student at the London School of Economics, CM began writing for her aunt Lady Rhondda 's feminist journal Time and Tide. Her first publication there was a review of a long work translated from German.

HM 's contributions to the London Review of Books include memoir pieces such as Someone to Disturb, January 2009, about a failed attempt to build a friendship in Jeddah, across the barriers of race, gender, and class, with a Third Country National, a Pakistani. In November 2010 the same journal carried her account of her latest experience of hospital and surgery. Even when too weak to reach for a paper cup of pills that was not quite out of reach, she would always contrive to get my pen in my hand.Writing reassured me that I was alive and could act in the world.She felt contempt for Virginia Woolf , who abstained from writing when doctors forbade it.My brain seethes with ideas, so when my wounds are dressed I go limp as an old sheet and start novels in my head; one can always start them.

MM published her first known Gentleman's Magazine poem: Unexpected Deliverance, signed Maria.

Mary Louisa Stewart began telling stories to her sisters and brothers at an early age, perhaps modelling herself on her grandmother Wilson, a storyteller who could hold her grandchildren entranced. She worked on her style by translating from French and German, composing essays on specified topics, getting her wording exactly right on a first draft, and testing the results on her family. While still in her teens she contributed stories to periodicals; the first piece she published was a translation. Most of her later stories, as well as poems and articles, appeared first in magazines.

This was much reprinted in periodicals and miscellanies, often with an answer by an unidentified gentleman.

HM replied to the letter in the St James's Chronicle in which Hannah Cowley accused her of plagiarising, in both Percy and Fatal Falsehood, from Cowley's then still unperformed Albina, Countess Raimond.

The earliest identified publication of poetry by SWM was her Invocation to Hope, which appeared as by Constantia in the columns of the Massachusetts Magazine (which had been launched that January).

Though she was a contented only child, IM said that the impulse to create imaginary siblings was the thing that first inspired her to write. In her teens she was a leading contributor to the Badminton School Magazine. Her poems for it included a ballad and a translation from Horace ; her essays included Contrasting Views of Highbrows and Lowbrows (lowbrows read Walter Scott while highbrows read Dickens and Shakespeare , and follow the political situation in Germany) and How I Would Govern the Country.

DM 's bicycling tour of England in 1951 yielded three extensive accounts of famous places: Stratford, London, and Oxford. These pieces were printed in Hibernia, and earned her two guineas each (the equivalent of sixteen weeks' pocket-money). Another piece on Paris followed the next year. She was, however, less than completely thrilled, being vividly aware that article-length pieces were not her natural taste, and that what she wanted to write was a book.

Before her father died she was appointed art editor of her school newspaper, Peabody Palladium, and also began contributing to it doggerel verse in the style of Ogden Nash .