Morgan's Memoirs also printed a rollicking song by OC , which conjures up gatherings both intellectual and convivial at the Dublin Rotunda. Fun and Philosophy had already appeared in print in the Athenæum.

She kept writing. By 1832 she was showing her manuscripts to the Rev. Archer Clive , whom eight years later she was to marry. She occasionally contributed to periodicals. October 1844 saw the publication of her macabre essay The Great Drought in Blackwood's Magazine, and August 1865 that of From an Old Gentleman's Diary in Fraser's Magazine.

In order to support herself and her children following the death of her husband, SC also wrote many reviews for periodicals, most frequently for the Quarterly Review.

WC 's first identified published work, a short story titled The Last Stage Coachman, appeared in the Illuminated Magazine.

MC was one of those writing in The Author in the late 1880s to express indignation about the theatre adapting and performing works of fiction without payment to their authors.

LSC began work as a contributor to the Athenæum; overall it printed more than twenty articles by her, on a variety of topics.

The St James's Chronicle printed HC 's letter defending herself from the charge of plagiarism, and claiming that her Albina had been pillaged, before its staging, in both Percy and Fatal Falsehood by Hannah More .

GC also published shorter fiction in a number of journals. This included Alwyn's First Wife for Fraser's Magazine in 1855, A Sketch of Two Homes and the sensational tale My Sister's Husband in 1857 for the Dublin University Magazine. Her article Charlotte Brontë's Birth-Place for the Canadian Monthly and National Review, 1876, recounts GC 's trip to Haworth, in the West Riding of Yorkshire, made after reading Elizabeth Gaskell 's The Life of Charlotte Brontë.

A manuscript of HC 's collected poems has been mentioned, but has not been traced. Overall, in fact, little survives, though she included The Maid of Enterkin in her first novel, and George Neilson (a descendant of her family) published some of her pieces in 1919 in the Glasgow Herald, two of them addressed to Robert Riddell . Some of her poetry reflects in subject-matter and sentimental tone the popularity of Goethe 's Werter. She wrote poems on several high-profile suicides and murders of the 1770s and 80s. One of these was the shooting of Martha Ray outside a London theatre on 4 April 1779 by James Hackman , who at his trial testified that the will to destroy her who was ever dearer to me than life, was never mine till a momentary phrensy overcame me, and induced me to commit the deed I now deplore. Another was the double suicide of the parent-crossed lovers Gian Faldoni and Theresa Mosnier (about whom Edward Jerningham also wrote a poem, Faldoni and Teresa, 1773, with a line from Pope 's Eloïsa to Abelard on its title-page).

Neither work was published entire at this time, although Henry Harland , editor of The Yellow Book, was glowing in his praise of them. Instead, VC 's first publication consisted of solely chapter three of The Refiner's Fire, which appeared in The Yellow Book as Theodora: A Fragment. The Refiner's Fire eventually appeared as Six Chapters of a Man's Life in 1903, and Different Views, minus its title, formed part of the collection Six Women in 1906.

Her preface claims she is twenty-three, and now for the first time publishing poems which lack the excuse of extreme youth. She reprints most of her published poems and adds some recent ones from newspapers and from The Fatal Secret, 1801. She coyly mentions many more teenage pieces which she will not presume to intrude . . . upon the liberality of my readers. The volume includes a print of CD as Rosa Matilda with black curls, large eyes and a languorous expression, her breasts clearly visible through a filmy Empire dress, with a portrait miniature of a man pinned between them. A Garland Press reprint of 1978 has an introduction by Donald H. Reiman in which he debates CD 's identity.

A Mrs. Mary D. who published in Peter Motteux ' The Gentleman's Journal a 600-word tale entitled A Gift and no Gift may well have been MD .

Her first acceptances came from romantic magazines. On the matter of business terms, however, she was hard-headed. She declined to publish with F. V. White and Co. because I did not consider their terms sufficiently tempting, and put her work instead into the hands of Pinker and Co. literary agents. Later, during her years of productivity, her agent was the firm of A. P. Watt ; this firm was adept at concealing her identity and preserving her privacy.

Several of the stories had previously appeared in a range of journals and magazines, including Woman's Journal, the Ulster Tatler, Cosmopolitan, Good Housekeeping, The Literary Review, and The Female Line (a journal published by the Northern Ireland Women's Rights Movement ).

MD formed the desire to be a poet while she was a child: I wouldn't marry or have children but would follow in the penprints of my hero Keats . While she was at university she began writing poetry and plays. She also published in Lucifer (the King's College magazine) a short story, That's How It Was, which she later revised as chapter 5 of her first novel, which bore the same title.

TD had before her the example of her very literary family, both immediate and extended; her father and other male members of his generation had individually published books in English in various genres, as well as contributing to The Dutt Family Album. She published in Calcutta Magazine and composed several critical pieces, primarily literary reviews and translations from the writings of French politicians, for the Bengal Magazine. Her first essay, published around 1874 in the same Magazine, was a discussion of the French author Leconte de Lisle . The Bengal Magazine also began printing her unfinished novel, Bianca; or, The Young Spanish Maiden, the existing chapters of which were eventually published in 2001 as the first novel by an Indian woman.TD 's work also appeared in the Saturday Review and La Gazette de France.

In the year of publication Charles Pictet translated Practical Education into French for serialisation in the influential periodical Bibliothèque Brittanique, published in Geneva by himself and his brother Marc-Auguste . This began a campaign by the Pictets to give the Edgeworths' educational writings circulation in Europe. In its own day the progressive stance and the secularism of this work was viewed askance by some critics. As educational theory moved on, however, the Edgeworths were sometimes set up as an example of the bad old days by those arguing that teaching ought to work less on the child's memory and more on imagination. Samuel Taylor Coleridge pronounced that Practical Education contained very good things, though also some nonsense.

While LCE published her work primarily in volume form, she occasionally contributed to periodicals. In July 1879 three of her poems appeared in Fraser's Magazine: The Fountains of Love, Unhoped Delight, and In All Labour There is Profit, which last piece uses the work of winemakers to suggest that labourers should in spirit share the joy their work will bring to its recipients in the future, even if that work seems unrewarded in the present.

CE took on the editing of the annual Christian Remembrancer Pocket Book, to which she also contributed poems. She continued as editor until 1859.

An account by NES of her arrest and interrogation by high-level Egyptian police in 1981 appeared in the fourth number of the quarterly Index on Censorship under the title In the Women's Prison.

Eventually, BE sent a series of articles based on her experiences as a recent immigrant in London to Richard Crossman , editor of the New Statesman. He took an interest in the pieces, which had various working titles including Observations, Social Realities, and Life in London.

He followed this with letters to newspapers urging the abolitionist cause, and in early 1788 published four reviews of books on the race question by James Tobin and other defenders of the system of slavery, as well as an address to Parliament (which appeared in some papers as by Gustavus Vasa, but first as by Aethiopianus).

The girl who became FF began writing at an early age: her first known literary creation (which still survives) was an essay delivered at a school Exhibition, titled Suggestions on Arithmetic. The essay, which parodies her ineptitude at mathematics, was preserved by a schoolmate. After her graduation and before her first marriage, FF wrote bright, pretty pieces for The Youth's Companion, a journal of her father's .

After publishing her first two novels she began writing journalism for the Guardian's women's page, then edited by Mary Stott . She covered such consciousness-raising topics as equal pay.