Mary Rainbow (later MS ) began writing at an early age. She later commented that I believe I could put words on paper when I was a little over three years old. At around five or six she published her first poem, entitled Teeth, in the parish magazine edited by her father. The only other one of her poems which she remembered from this time was about a horse called Dawn. She notes: at intervals I was required to recite it in public, which I did with great pride. By the time she was seven years old, she had written a book of poems and had filled several exercise books with fairy stories and animal stories. These early stories took three toy animals (who were also their audience) as their main characters: a little rubber horse, a tin elephant, and a small rubber cat that whistled when you pressed it. In addition to writing stories, Mary Rainbow also illustrated them. In fact, drawing was her first ambition. She later remarked that she would draw my stories, then write to match the pictures. I think I took the writing part of it very much for granted. Her mother kept her book of poems, but what she considers the best of her early work, an illustrated book of fairy tales, was lost.

AS says she began to write verse when I was introduced to Shakespeare and the English Romantics as a child, and was bewitched by the discovery of rhythm. She began at about twelve to write ballads and plays, and by her teenage years had created a image of myself as artist that suspended me in my own myth as I drifted through school, dreaming of future laurels.Red-Winged Blackbird, written at University High School , Ann Arbor, was the first poem I knew to be a real poem. In her senior year at school, the school magazine, Pegasus, printed four of her sonnets, and she wrote and directed a one-act play, Tempus Immutabile. She remains grateful to teachers who praised her imagination but berated her carelessness and taught her to write prose. They encouraged her to write and direct plays, never seeing her gender as a barrier to writing. She met her first real poet, John Ciardi , who won her heart by treating her as an adult, and who made her into a modernist.

An early opportunity for FAS was that of writing leaders (while the editor was ill) for Indian Public Opinion and Punjab Times, a newspaper published under this title at Lahore from 29 March 1870 to 28 February 1877.

During the next several years, FS also published in The Spectator, the Contemporary Review, and the Geographical Journal.

The results of MS 's first experimental investigation of the connection between light and magnetism were presented to the Royal Society by William Somerville ; they later appeared in the Society's Philosophical Transactions.

SS placed in The New Statesman and Nation three of the poems which had been rejected for volume publication.

LTS seems to have been an infrequent contributor to periodicals. In January 1892 she published a paper in the English Historical Review entitled English Popular Preaching in the Fourteenth Century. In the article she discusses the ways in which the early writings of preachers like Nicolas de Bozon cast a welcome gleam of light on the modes of life and means of reform current under the second and third Edwards .

At not yet thirty MBS , as S. M., published her first short novel, initially in Sharpe's London Magazine and then in a volume, The Maiden Aunt.

Throughout her career LHS was prolific in magazine publication: many of her volumes of poetry consist largely of pieces reprinted from periodicals.Louis Godey paid an annual $500 for the privilege of attaching her name in 1840-2 to his Lady's Book (later Godey's Lady's Book). Edgar Allan Poe made her a regular monthly fixture in Graham's Magazine even though he was not, privately, one of her admirers.

The Guardian publicised the book by printing one of the poems from it on this date. The collection was re-issued by the publisher in 2006.

The stories had appeared previously in periodicals. She dedicated the book to her brother Fred, for whose school magazine she had written the first story, one of the earliest I ever made.

DLS 's earliest literary efforts were theatre reviews written in 1909. Her poems were first published in her school journal, the Godolphin Gazette (1910), then in the Oxford Magazine (1915). Her poetry appeared in several volumes of Oxford Poetry—but she also published in places like the Saturday Westminster Gazette, where she used the pseudonym H. P. Rallentando. After leaving Oxford, she published two collections of her poems.

By the 1960s AR 's prose writing, like her poetry, was beginning to appear in radical feminist journals; some if it was later collected in book form.

A C. R—ve at Windsor (who was probably CR ) published an article in Town and Country Magazine, volume four, in defence of the scriptures.

Ella Wheeler Wilcox , a family friend, wrote a warm review for the American Journal Examiner, translating the title as With Tapers Quenched, and concluding: Success to you, young singer in Venice!The gushing review that appeared in the Evening Standard and the St James's Gazette by a Venetian critic after Pound moved to London (absolutely poetic, original, imaginative) was in all probability written by Pound himself. Fifty years later T. S. Eliot found these poems fancy and old-fashioned, not impressive.

JP 's travels yielded both essays and short stories. In 1842The Fatal Jest: Hungarian Tradition (which tells the story of the spendthrift sixteenth-century Hungarian nobleman Count Caspar Zeredy) appeared in Ainsworth's Magazine, while the Foreign and Colonial Quarterly Review published On the Rise and Progress of Magyar Literature.

Ouida 's first published work, Dashwood's Drag; or, The Derby and What Came of It, a story of the fast set of fashionable young people who delight to shock, appeared in Bentley's Miscellany.

The Minor's Pocket Book reprinted this under the name of Clara in 1799.

Extracts appeared in the Whitehall Evening-Post two months after book publication. A Dublin edition followed this year, and French and German translations the next.

EMH 's poems were published in Dublin periodicals, such as the Dublin University Magazine. Her earliest works were printed under the letters Z. Y., taken from her given names. She later began using her initials, E. M. H., for periodical publication.

The early compositions of Frances Watkins (later FEWH ) began appearing in print during the 1840s in local Baltimore publications. Her first separate publication was purportedly a text called Forest Leaves (also Autumn Leaves), from around 1846. However, there are no known copies of this text.

After an initial rejection, EH 's poem Told in the Firelight was accepted and published in Cornhill Magazine; she received ten pounds in remuneration.

FH wrote the occasional poem in her childhood, then poetic prose during adolescence. As a sixth-form student, she wrote for the school magazine; one piece described her class trip to Venice and Florence.

Once she had secured an advance on her first novel, EJH was at once able to place a couple of pieces in Vogue. She later wrote reviews for a little magazine run by Nancy Spain . She wrote an article about Charlie Chaplin for the Observer, which rejected it because she had not covered Chaplin's politics. She sent it to a different, marginal magazine instead, and never got paid.In 1958 she became a regular book reviewer for the magazine Queen, writing 1,200 words a fortnight for a thousand pounds a year, my first proper job with a decent salary.Francis Wyndham , the literary editor, left her complete freedom as to which books to review. She was fired with no notice in 1960, which she believed had something to do with the fact that she had been paid more than Penelope Gilliatt , the magazine's theatre reviewer. She later wrote for Brides magazine and a column on gardening for Good Housekeeping.