Throughout her career, LV contributed dozens of articles to a number of outlets including among others The National Review, Macmillan's Magazine, Fraser's Magazine, and the English Illustrated Magazine. Many of these articles highlighted Italian places, life, history, and literature. Her article Novelists and Novel Writing in Italy, published in Macmillan's Magazine in May 1878, comments on the state of Italian literary culture and the realities of being a writer in Italy. LV notes that the reading public of Italy is too small to create a real demand for light literature. For among the upper classes, those who read for amusement fly to French and English novels, which are more than sufficient for their needs. She also wrote a number of historical articles. The Frangipani Ring was published in The Contemporary Review in June 1896, and studies the discovery of a sixteenth-century Germanic ring near Venice. It was given to an Italian professor, and LV explains the significance of the discovery as proving German activity in the area in roughly 1513, which was unknown prior to the discovery of this ring. She wrote regular contributions for The Examiner from 1875 to 1876 and Academy from 1877 to 1886. Other periodicals where her work appeared include Cornhill, Appletons' Journal, Belgravia, The Newbery-House Magazine (for instance Christmas Notes fromFlorence and Naples in the Christmas number, 1889), Scribner's Illustrated Magazine (for instance, The Plain Story of Savonarola 's Life, August 1880, years before her husband's life of Savonarola), and Leisure Hour.

In 1892 EU , still in her teens, won first prize in a short-story contest offered by Hearth and Home magazine. Several years later she returned to this genre and in 1904 published five stories in Horlicks Magazine.

UT researched and wrote a paper on Spiritualism entitled The Modus Operandi in So-Called Mediumistic Trance, which she published in the Proceedings of the Society for Psychical Research , to which she belonged.

CPT 's optimistic account of pioneer life and her descriptions of Canadian nature and wildlife sold so well that she was asked to add more information to future editions; she added practical advice for women on topics such as pickling and making maple sugar. The book received positive notice from the London Spectator, the Athenæum, and Tait's Edinburgh Magazine. Discrete sketches from the book were published later in periodicals including Chambers's Edinburgh Journal.

AT , in Australia and pressed for both money and occupation, began writing seriously for publication by placing An Interview with J. M. Barrie in The Forum (on the women's page).

JS arranged to publish her short story Can't You Get Me Out of Here? in the New Yorker.

FC had already written about her prison-visiting experience in Penitentiaries and Reformatories, 1865, and in an article of that title (Prison Visiting) which was carried by Fraser's Magazine in December 1880..

The Crimean War drew from LCS a poem which, some time around 1854, her sister Arabella Shore submitted to The Spectator without her sister's knowledge. It appeared there under Arabella's title for it, War Music.

After finishing art school, BR began contributing illustrations and short stories to magazines. Her early publications, not as a writer but as an illustrator, appeared in The Idler in 1903 and in the The Jabberwock, edited by Brenda Girvin . A significant influence on her decision to become an author was E. Nesbit , who spent hours listening and advising her about her work. By 1905 she was a published writer, with short stories and serials in journals like Home Chat and the Forget-Me-Not.

In an essay of 1924 entitled The Ethics of Birth Control, which appeared in the League of the Church Militant Supplement, MR set forth her belief that abstinence in marriage was the best form of birth control. While she advocates abstinence to avoid unwanted pregnancies, she acknowledges that this is not enough to solve the social problem of such pregnancies and that therefore other forms of birth control, such as contraceptives, are necessary.

Elizabeth Singer (later ESR ), as Philomela, published poems in John Dunton 's The Athenian Mercury (formerly The Athenian Gazette).

Laura Reichenthal was ten or eleven when she won her first prize for her writing, for an essay on What the City Does for Us. She was already writing poetry as well. In spring 1923, as Laura Gottschalk, she began placing her poems in a magazine called The Fugitive, edited by Donald Davidson in Nashville, Tennessee, although it accepted work by few women and was in general disprespectful of them. She also placed work in Harriet Monroe 's Poetry.

Vienne, a group of three sketches, appeared in the twelfth and last number of Ford Madox Ford 's transatlantic review: it bore the pseudonym JR , and was her first publication.

SP 's first poem to appear in print was Spring '72 in this season's issue of Poetry Wales.

CEP 's paper Lucilio Vanini : His Life and Philosophy was published in the Antiquary.

SP 's first published poem, Hear the Crickets Chirping, appeared in a letter to the Boston Sunday Herald when she was eight years old.

Poetry London published two poems by HP , New Year in the Midlands and Chandeliers and Shadows (the latter with an epigraph from Webster's The Duchess of Malfi). They were his first appearance in print.

SP dated the poem which seems to have been her first to appear in print: Sonnet to Painting, which was published under the pseudonym of Angelina in the Sheffield Register on 7 June 1788.

GP 's earliest publications were stories and essays published anonymously in such journals as the Cornhill Magazine, Temple Bar, and Fortnightly.

Her book The Great Scourge and How to End It arose out of articles in this journal, and she also contributed to other suffrage newspapers. After the outbreak of the First World War, The Suffragette became defunct in Paris, but it reappeared in London on 9 October 1915 under the name Britannia, reflecting CP 's patriotic sympathies.

Her very first fiction, rejected with a kind message of encouragement from Mr Everett of C. Arthur Pearson , later became the germ of her successful first novel, The Emperor's Candlesticks. She had hit just the wrong length, too short for a book and too long for a story, so after this she studied the market. Her next submissions to Everett, The Red Carnation and Juliette, A Tale of the Terror, were accepted for Pearson's Magazine and the Royal Magazine respectively. Her husband did the illustrations for Juliette, and at lunch with Everett , now her publisher, EBO agreed to submit all her stories to Pearson's from now on, and was offered ten pounds for every story accepted. Then, returning home one evening in a London fog past a canal, with a horse-drawn barge barely visible under the shadowy arches of a bridge, she began to plan a crime series, all centred on The Old Man in the Corner, a figure as unlike Conan Doyle 's Sherlock Holmes as she could make him (though he too wore a checked ulster). The old man has a cracked voice and dribbling nose, and lean, bony fingers fidgeting, always fidgeting, with a piece of string. He was to appear along with a lady journalist who meets him regularly at an ABC teashop to hear his stories. These became a series of six magazine detective pieces set in London, for which EBO duly received sixty pounds. She was to continue the series, at her publisher's suggestion, with Old Man in the Corner stories set in other major British cities, beginning with Glasgow. EBO had stayed there, and felt she knew the city pretty well, but she committed the blunder of describing a coroner's inquest, which is no part of the Scottish legal system. This brought in, she said, hundreds of indignant letters, with which she and her publisher were snowed under. She felt mortified and guilty until at the suggestion of her husband (always her best adviser) she pointed out to the Royal Magazine that their reader ought to have caught the error, whereupon they lightened up and advised her to forget about it. From this, she felt, she learned an invaluable lesson about the importance of getting her research right.

She was inspired by the example of Hilda Marx , whom she had heard reciting her poetry. She wrote her own poems in her head, mostly while she was by herself and walking. Not until the poem was complete would she write it down and foreclose the option of changing it. The editor of Jüdische Rundschau published most of those she submitted in his children's section, saying they could have gone in the adult part of the paper if she were older.

The Marshes of My Soul, SG 's first published poem, which lampoons the latest School of Decoratively-Melancholy Introspectives, appeared in the University College Magazine.

Not long after reaching England at the age of twelve to begin her serious education, RG borrowed fifteen pounds from her mother to publish some of her poems with a vanity press. Fifty copies were printed in a stiff-covered pamphlet. She later claimed to have no copy in her possession, and to believe that (though her father had had the whole run delivered to him): Thankfully they were lost or thrown away, thankfully because there was not the least spark of interest in any of them. She took another plunge into publishing poems in 1929, this time placing them in The Illustrated London News.