The Zululand controversy continued after FD had, on her return to England, vacated her position as Morning Post Special Correspondent. The paper, however, continued to offer her space, even for a letter in six columns of tiny type. She addressed the same topic in a series of articles for Vanity Fair (which were then collected as a book, A Defence of Zululand and its King, 1882), and some for the Natal Mercury. When Cetshwayo did indeed arrive in England on a permitted diplomatic mission, she published a preparatory article in the Nineteenth Century.

HD followed her first book by contributing poetry to many newspapers and magazines. Her work appeared in annuals and books of beauty, in Fraser's Magazine, The Monthly Magazine, and shorter-lived journals like John Abraham Heraud 's The Sunbeam, 1838-9, and John Westland Marston 's The Psyche, 1840.

During her time in CrimeaFID kept a diary (whose manuscript does not survive) and sent regular letters home to her sister Selina (now British Library Additional Manuscripts 47218). She told Selina that writing to her, and saying what she could not to say to anyone else, was a comfort, a vent for feelings of pain and rage that might otherwise have burst her heart. Unauthorised extracts from her letters reached print anonymously in the newspapers, and this gave her the confidence to enlist her brother-in-law Francis Marx to edit her journal for publication. As early as November 1854 she sent to Queen Victoria a splendiferous map she had drawn of military positions around Sebastopol: a first step towards royal patronage. This duly brought a letter of thanks, but seems to have failed to perform what Duberly had hoped for when she described her map as a hook to catch a fish.

Further poems appeared over the course of that year in journals such as the Canada Monthly, along with many articles in magazines. One of her first pieces of travel writing was published in the magazine Outing in May of 1884. It was titled By Stage to Montmorenci.

At the age of nine (which is to say, around 1840; some sources say even earlier) ABE won a prize for an essay submitted to a penny temperance magazine. She followed this with musical stories in Chambers's Journal and other periodicals.

Spurred by an unauthorized article about her, LE published her own newspaper piece telling the story of her discovery of her gender identity and the surgeries that she went through in order to reconcile her internal conception of herself with her external embodiment.

EF 's next publication, in Blackwood's Magazine, was a spoof or pastiche: seven lyrics purporting to come from an imaginary book called The Shepheard's Gyrlond, 1594, by the fictional Nathaniel Downes. When the author confessed her forgery (which she had not expected to be believed), William Blackwood replied: We'll print it without explanation and see what happens. He paid her 25 guineas. She included with her work a mock-scholarly commentary, with tongue-in-cheek comments like: little more than an exercise in the graceful imagery of the period.

Some of the verses were transplanted from MF 's plays, while others were reprinted from various periodicals, such as the Contemporary Review, The Spectator and The Academy.

As a child Penelope Knox, together with her brother produced a family magazine. In 1980 she observed: The stories I wrote at the age of eight and nine did not bring me the success I hoped for. She contributed to student periodicals both at Wycombe Abbey and at Oxford . During the second world war she worked for the BBC , for which she wrote scripts for children's educational programming, and reviewed films for Punch and books for the Times Literary Supplement (the latter anonymous, like all TLS reviews at that date). In the 1950s she contributed essays and reviews (many on the visual arts) to World Review, which she and her husband briefly co-edited.

CF penned the earliest that has been identified of the letters, or essays on political subjects, which she contributed to periodicals under the name of Probus.

MW 's To an Infant expiring the second Day of its Birth appeared in the Gentleman's Magazine in October 1733.

While in reminiscence JSW was uncertain as to the title of this early composition, she acknowledged the influence on it of Ouida and Whyte Melville . She sent the story to the journal Wedding Bells but never received a reply. She later tried to write a collaborative story with two friends, but a quarrel ended the attempt. A subsequent military sketch appeared in a York paper, but she received no remuneration for it.

The schoolgirl Dorothy Stirrup (later DW ) had over forty short stories (mostly fairy-tales) published in the Children's Corner of the Blackburn Weekly Telegraph. They appeared between 1905 and 1910, having been tried out by reading aloud in her family before being sent to the paper.

The appearance of a poem by PW , On Messrs. Hussey and Coffin, in a Boston newspaper was remarkable (though not a first) because of Wheatley's status as a chattel slave.

She continued to publish poetry in magazines, and issued in all three poetry collections.

On 5 May 1861, AW 's The Brissons, published in the pages of Macmillan's Magazine, recounted the story of a Cornish shipwreck off this cluster of small islands in January 1851.

HSW wrote her first review for The New Freewoman, of Stephen Pearl Andrews 's The Science of Society.

This book began from an essay commissioned by Christopher Falkus of Weidenfeld and Nicolson , for a collection by women writing on formative influences on their lives. Warner was at first reluctant, or half-hearted, about expanding this into a book. She worked on it while she was in Vietnam covering the war there. This has a second, new and revised edition published in March 2013, with a new authorial introduction which appeared, ahead of the volume, as Our Lady of the Counterculture in the London Review of Books in November 2012.

AU published her first article: What Should Children Read? in Homes and Gardens.

As a young woman at home before the First World War she wrote poetry which she was eager to discuss with her friends and those of her mother. She had some of these poems privately printed and gave the collection to friends. Other poems by her were published in literary reviews, much to the displeasure of Alice Keppel , who discouraged her young daughter from continuing with such unprofitable intellectual pursuits.

Having already published poems in periodicals, HET issued a collection, Lines and Leaves, under her married name of Mrs. Acton Tindal.

HT published her essay Women and Criticism in Macmillan's Magazine under her initials only.

One of ET 's very few poems, submitted to a little magazine called The Decachord out of a desperation to see something of her work in print, appeared there cut in half for appearance in two separate issues.

That year she met Ingrid Pollard and they travelled around Britain connecting with Black women artists and writers. The results of their work (her writing and Pollard's photographs) appeared in various publications including Artrage, Spare Rib, and FAN. Presenting the creative expressions of Black women, according to MS , is a critically important political activity: In presenting images of ourselves we affirm our worth. Within a hostile urban environment we deconstruct dynamics of sex, race, and class to survive. The project presents poetry readings, performances and exhibitions, over a spectrum which includes singing, sculpture, hairbraiding and childbearing.