It included a reprinting (under a revised title), of his first published literary work, A Dinner at Poplar Walk, which had appeared in the Monthly Magazine in December 1833. Sketches by Boz collected journalism, sketches, and tales of contemporary life that had appeared in the Monthly Magazine, Evening Chronicle, and other periodicals. A second series was published in December of the same year, and an edition collecting both series was released in 1839.

Eleven poems were published in her lifetime. The Springfield Republican, edited by ED 's friend Samuel Bowles , published six of her poems anonymously.

She later called this first work expectably naive, and in places rather prejudiced, though she allowed it a certain spontaneity and youthful enthusiasm. The Evening Standard review was a long one. It was a fair success, selling 6,622 copies at first printing, bringing in £391.19s. in royalties, and continuing for thirty-five years to sell 35,000 copies a year. Her parents were proud and delighted, though some of her aunts disapproved. The book was serialized in the Sunday Chronicle, with pictures; MD began, excitingly, to think of herself as an author.

Two poems from the volume were then reprinted in the Gentleman's Magazine in December 1740.

On Jane Austen 's birthday, MD 's The Dower House at Kellynch: A Somerset Romance appeared in the journal Persuasions.

Apart from her own volumes of poetry, she published in Argo, the London Magazine, the Oxford Magazine, the New Statesman, The Spectator, the Observer, the Times Literary Supplement, Poetry Review, and Verse. Her work also appeared in a number of anthologies.

ME 's earliest publications included those she contributed to the Royal Magazine (which appeared between 1898 and 1930, and of which her husband was editor when they met).

BE says she just fell into writing. Her earliest published work (which she still retains) was a poem about the suffragettes in the school magazine. She read Derek Walcott early in her career and he influenced her deeply.

Juliana Horatia Gatty (later JHE ) first reached print, with the story A Bit of Green. It appeared in the Monthly Packet, which was edited by Charlotte Mary Yonge .

ZF has written poetry throughout her career, though it has taken second place to her prose. It has appeared in periodicals and in collections from Roger Dennis 's little-known Entry (published in Fife, 1971 and 1972), through Lilian Mohin 's One Foot On The Mountain (1979) to John Whitworth 's The Faber Book of Blue Verse (1990).

As early as 1897, FF contemplated a career as a drama critic, but Shaw discouraged her since she had set her sights on his job of writing for the Saturday Review. She wrote one article for Free Lance in 1901, but did not publish regularly until her work for The New Age.

The first number appeared of The Magazine for the Young (also known as The Pink Mag); CY soon began contributing to it tales about schoolchildren.

EMF published his first story, The Story of a Panic, in the Independent Review, a journal established by G. M. Trevelyan .

In February 1886 JF 's Some American Recollections were published in Temple Bar, extending and amplifying a paper she delivered to the working men of Ancoats, an industrial suburb of Manchester.

AF began contributing to the The Norwich Mercury before her final volume of Miscellaneous Poems appeared, and after that she continued into the 1790s to supply the paper with anti-radical poems.

At eight years old PF won a bronze medal for a Nature Note submitted to the magazine Little Folks. She had invented the observation she recorded, of a mother rabbit carrying her babies to safety ahead of the harvesters. She felt no guilt but only delight at winning by means of a lie. She wanted to be a poet, but found she had no music in me. Before she turned sixteen she had drafted several novels. The two she wrote at home in the year after leaving school (writing in the family drawing-room while talk went on around her) were actually submitted to publishers, but rejected. Another she abandoned. Her father taught her to be industrious, though she never emulated his regular work habits.

AF became a contributing editor to Vogue magazine not only because of the high fashion profile that she maintained as a young married woman, but also because her travels by mule in Ethiopia had been featured in a Vogue article. Continuing in journalism after her marriage, she contributed articles to such papers as the Sunday Express on topics like how to behave at a house-party. She published Dolls in 1963 and A History of Toys in 1966.

By 1967 MF had worked as a journalist for the BBC , had covered religious affairs for the Guardian and the Spectator, and was writing a regular column for the Daily Mail. She continued to publish some important material in periodicals: for instance The St Hilda Community —narrative of a group which supports female priests in The Ecumenical Review in 2001.

According to bibliographer Michael Sadleir , OW 's earliest publication was a Chorus of Cloud Maidens which appeared in the Dublin University Magazine.

The monthly Atalanta—Every Girl's Magazine, launched in 1887 by editor L. T. Meade , listed Blanche Oram (the later RW ) as a runner-up in its first Atalanta Scholarship Competition, for 1887-1888.

By the late 1820's, AW was writing for the Owenite newspapers. She was also instrumental in bringing the work of the Saint-Simonian feminists to England, as she translated many works by Charles Fourier especially.

JW published The Boundaries of Science in Macmillan's Magazine: a critique of The Origin of Species and of evolutionary thinking which was admired by Darwin (her uncle by marriage).

As a child Mary Meredith (later MW ) wrote stories for her younger brothers and sisters. She first had her writing published after the family moved to Stanton-on-Hine Heath, in the parish magazine. By 1901 she was writing essays and poems influenced by Housman and Shakespeare ; one of her brothers attributed her pagan faith in God as Nature to her reading of Darwin 's The Origin of Species.

In addition to her creative work, MW has made important contributions to feminist theatre criticism, in writings for Plays International, Feminist Review and The Quarterly Theatre Review, and in monographs. She locates herself at the sometimes difficult position of being on both sides of the creative fence.