Around the age of fourteen JI began penning poetry on the window shutters of her bedroom, after having been denied paper by her strictly evangelical mother . Her earliest surviving poem is Katherine of Aragon to Henry VIII , on hearing of his intention to divorce her, which was likely composed around this time. This poem numbered among her contributions to St. Stephen's Herald (the magazine compiled by the Ingelow children) and marked the debut of her pseudonym, Orris. Her contributions to the Herald, she recalled, were all highly moral and very tragical, and it was only when none of us could do anything droll that my poems were put in to fill up.Katherine of Aragon appeared again, along with other juvenilia, in her Rhyming Chronicle.

The story A Tragedy of Error, HJ 's first publication, appeared in New York's Continental Monthly.

Aquarius published KJ 's poem entitled View from the Cliffs; it did not appear in any of her collections until 2002.

FTJ was publishing reviews and stories not long after she began her career in journalism in London.

JK , under her initials, published an essay, The Montyon Prizes, which appeared in Chambers's Miscellany.

After this beginning to a feminist writing career, JK joined the Women's Literature Collective and began reviewing poetry for Spare Rib (where she also published her own poems) and other radical journals. During the 1980s she edited The Pen, broadsheet of PEN International . Throughout her career JK has contributed poems to periodicals. Recent poems have appeared in, for instance, Ambit, Poetry Wales, the London Magazine, and Stand magazine. Her work is also found in anthologies, including ones issued by the Arvon Foundation and Poems on the Underground. She contributed recently to Contourlines, edited by M. E. J. Hughes in 2009, a collection of contemporary poems and images connected with landscape.

In the National ReviewMK published Fishing in West Africa, an anecdotal account of her specimen-collecting techniques.

After being forced to abandon her musical ambitions, FK began writing periodical articles about music, and submitting interviews of musical personalities who played at the Crystal Palace. She also became assistant editor first of the magazine then known as Sylvia's Home Journal and then, in 1895, of the new sixpenny monthly Windsor Magazine (owned by James Bowden ), where she sometimes took editorial responsibility when the editor, Coulson Kernahan , was ill. She was also a frequent contributor to this publication.

Towards the end of her memoirs FAK notes that she wrote from the age of seventeen but did not earn until I was twenty-six. Her earliest publications were poems for the Guernsey Star (when she was seventeen), and both poetry and prose for the North Devon Advertiser. She found at this age that she could write verses as rapidly as pouring water. One of her brothers helped to arrange the placing of her short stories and romances in the Family Herald. This paper carried four long serials by her—The Spanish Lady's Love, Julia (a title also used for novels by Helen Maria Williams , another Francophile Englishwoman) in 1790 and by the Irish Katharine Tynan in 1904), Annie Alleyne, and Kate Donlavy. This paper, she wrote later, paid her handsomely for the ten volumes of her writing which it published.

Eighteen-year-old Letitia Landon 's first poem, Rome, was published in the Literary Gazette, signed L.

Early in her career DL published stories in such pop/radical magazines as Ambit (where in May 1984 her Proletarian Zen, written in a splendidly sustained oriental pidgin English, was judged by James Lasdun to be the most entertaining piece in the issue, the only one to be wholly satisfying). Judging a short-story competition in 2017, she wrote that perhaps she herself produces more successive drafts in composing stories than for any other genre.

Late in her rather short life, ML said that her first childish attempts to express herself had been in rhyme, poetry it could not be termed by any stretch of courtesy. She then thought of prose as too difficult and ambitious for her. Her biographer Cordelia Stamp says her first poem was a prayer, an accomplished sonnet beginning I have no rule, O Saviour, but Thy will.ML later published poems from time to time in Good Words. She began writing stories, along with her correspondence, in the evenings when she was a governess to the Hope family in Derby.

PL has published introductions to works by other writers including Ivy Compton-Burnett , Edith Wharton , Willa Cather , and Carol Shields . In September 2015 she reviewed Alison Light 's Common People: In Pursuit of My Ancestors for the New York Times Sunday Book Review.

Sarah Macnaughtan published her first short story, called Tom Cophetua, a modern reworking of a traditional Cinderella-like legend, in Temple Bar.

The Fortnightly Review carried LM 's article The Youngest of the Saints, one of a number of her periodical contributions over the course of her career.

She edited Partisan Review for a year and continued to contribute to it for much longer than that. The theatre reviews for which she is particularly known appeared first in its pages.

It was not her first play. It was published in the school magazine.

Though DM generally says she began writing in Pakistan, she admits to a bit of purple prose at university and a couple of book reviews for the Daily Telegraph.

LMM 's writing appeared in print for the first time; her epic poem about a French sea captain was published in the CharlottetownPatriot.

Around the age of ten, Penelope Fletcher (later PM ) was writing romantic verses modelled after Cicely Mary Barker 's Flower Fairies of the Spring, and stories about the countryside. One story appeared in the Review of Reviews; she later suspected that the publication was paid for by her father. She wrote a first novel at the age of twenty-one, called Time for Tenderness, which publishers rejected while suggesting, encouragingly, that it showed distinction and promise.

Other stories after The Strangers were aired on CBC . As an undergraduate AM published in the University of Western Ontario 's student magazine, Folio, and moved on to wider circulation in the pages of Mayfair, Tamarack Review, Canadian Forum, Chatelaine, and Queen's Quarterly.

The Nineteenth Century published CGOB 's essay The IrishPoor Man.

The production and reception of this text was heavily influenced by the political climate of the time. EOB 's preparations for writing it included interviewing Dominic McGlinchey , the imprisoned former leader of the INLA, an IRA splinter group. (O'Brien has publicly asserted that responsibility for those terrible and tragic years [of the Troubles] lies with both the British government and the intransigence of unionist domination.) She was made an object of scorn by some literary critics, mainly in Ireland, for this and for her positive profile of Gerry Adams in the New York Times in February 1994, when she compared him to the national hero Michael Collins . This, as it turned out, was just two months before opinions began to shift with the start of the Northern Irish peace process, and O'Brien's attitude came to look more prescient than perverse.

The Yellow Book carried LAT 's A Ballad of the Heart's Bounty.