JR gives readings from writing in progress, in schools and at conferences. Her work has been dramatised for radio and television as well as widely anthologised. Her short stories have appeared in Storia I, 1988, Her True True Name, 1989, Us/Them, 1991, Daughters of Africa, 1992, Black Star, 1993, and Inside Ant's Belly, 1994. Her work has also been included by Irene Staunton and John Crowe in their anthology Women and Words: Reading Other Worlds, published at Harare, Zimbabwe, in 2002. Her essay Writing Reality in a Hostile Environment appeared in Into the Nineties: Post-Colonial Women's Writing, edited by Anna Rutherford , 1994. She has reviewed for Africa Concord, New Socialist, and the BBC World Service .

MR 's perceptive and generous analysis and appreciation of Burns 's character and writings appeared anonymously in the Dumfries Weekly Journal only a fortnight after his death.

RR 's collections of short mystery fiction include The Fallen Curtain and Other Stories (1976), Means of Evil and Other Stories (1979), The Fever Tree and Other Stories (1982), The New Girlfriend and Other Stories (1985), Collected Short Stories (1987), The Copper Peacock and Other Stories (1991), and Piranha to Scurfy and Other Stories (2000). Stories from several of these volumes were later re-issued in a digital series called Storycuts.RR also contributed short stories to Ellery Queen's Mystery Magazine, and edited the collection A Warning to the Curious: The Ghost Stories of M. R. James.

AR 's The Nationalisation of Banking was published for the Fabian Society by Allen and Unwin . It is a slim monograph which followed on her series of articles on banking published in the New Statesman.

HMR was also a contributor to periodicals. The University of Liverpool library holds several undated pieces which were contributed by her to unidentified periodicals: The Mother's Blessing, Penny Banks, and a series of four sketches under the group title of Village Annals: The Widow's Legacy, The Five-pound Note, Self Denial, and Christmas Eve.

KR knew as a child that poetry was her vocation. Her mother wrote down her poems before she could hold a pencil herself. As an undergraduate she had poems published by William Empson in his journal Experiment. By the 1940s she was a regular contributor to Tambimuttu 's Poetry London. Although many of her early poems appeared in periodicals before she was thirty, KR followed the advice of T. S. Eliot and Virginia Woolf and did not publish them in a volume. Eliot felt that her poetry was not quite ready for publication in a book, while Woolf advised all young writers not to rush into print.

AQ published a handful of short stories and articles in various journals, including Nova, the London Magazine, transatlantic review, and Antigonish Review. In the mid-sixties she told her publisher, Boyars (whose list comprised some of the most cosmopolitan and provocative writing of the period), that she was writing short stories at a fantastic rate. The two earliest collected in The Unmapped Country, 2018, date from 1962, before her first novel appeared. Before her death she had submitted some television plays to the BBC , but they seem not to have been produced. She also has pieces in two collections: Beyond the Words, edited by Giles Gordon , and Signature Anthology (the latter along with Eva Figes , Elspeth Davie , Samuel Beckett , and Eugene Ionesco , among others). The former contains a selection from a novel she was working on at the time of her death entitled The Unmapped Country.

Country Life published BP 's dialect story The Fairy Clogs, the only one accepted out of four stories which she submitted.

AP 's earliest writing (untraced) is thought to have been for periodicals.

AP published an Ode to Moderation in a periodical entitled The Cabinet, published at Norwich.

Despite the repeated rejections, JP continued her efforts, and settled down to writing stories which she placed in the Daily Mail and the Evening News. When the editor of the former became a literary agent, he told her, you're barking up the wrong tree. You must write something which is saleable, and the best thing, and the easiest way, is to write a romantic novel. With this advice, JP read twenty romance novels, and when she felt she had grasped the formula, she tried one of her own. She sent the result, Daughter of Anna, to Henry Jenkins , who accepted it. The romance genre came easily to JP , who quickly found how they were done, and what they were aiming at, and they were quite easy to do.

RP remembered writing her first poem at five, in capital letters with blue pencil on a bit of torn paper, impelled by the need to write down the feelings aroused by remembering an image of desolation. When she was thirteen, she said, her proud father (who insisted at first on making schoolmasterly corrections to her work, in spite of her strong disapproval) took her, as a cat takes a kitten in his mouth, to show off both her and her poetry to A. R. Orage , editor of the socialist weekly New Age. Orage published her poem; others followed. She contributed for twenty years to New Age and its successor, the New English Weekly.

Hester Lynch Salusbury (later HLP ) kept a diary while still in her teens, and wrote remarkable poems and translations. Many manuscripts of her early poems bear the later annotations of Samuel Johnson . Some of her work was pseudonymously published in newspapers. After her first marriage she continued to publish small topical newspaper pieces anonymously.

Of the occasional poems which did appear in print during this period, one was a satire published as being by Benjamin Victor , whose poetry The Concise Dictionary of National Biography terms wretched verse. Of publishing in bits and pieces LP wrote, But, alas! though my Honours were very great, my Profits were very small. After Cibber helped her out of difficulty, she wrote him a poem of thanks which, according to her, was published in the official newspaper, the Gazette, on New Year's Day. It undoubtedly appeared a few months later in The Daily Gazetteer, 25 May 1743.

TCP anonymously published in Jamaica, in the Kingston Journal, an article or letter on local colonial politics, a rousing defence of Admiral Knowles , a successful naval officer but a very unpopular governor of Jamaica.

Another poem, dates five months after To my excellent Lucasia, marked Anne Owen's receiving the name of Lucasia, and adoption into our society. Another, To Mrs. Mary Awbrey at parting was reprinted in the Gentleman's Magazine in July 1744 with an admiring poetic comment by Elizabeth Carter .

The New-York Weekly Magazine reprinted an excerpt from EP 's The Errors of Education: Henry and Louisa. An Affecting Tale.

According to their first editor, MP 's dialogues, composed to illustrate the colourful, traditional language used by uneducated Devonians, were written in the mid eighteenth century. They circulated freely among the author's circle of friends. Excerpts were copied, perhaps for commonplace-books, and several found their way into print in journals.

PG 's comments on the current state of the theatre sometimes appeared in newspapers. On 17 May 2003 she issued in The Guardian a warning about political theatre, as too easy an option.

Despite Tauchnitz's choice of title for The Blood-Tax, DG went on in The Bridge of Life: A Novel Without a Purpose (1904) apparently to reject the thesis or problem style of novel beloved by her sister. In 1905 came The Improbable Idyl, which had first appeared in instalments in the weekly edition of the Times, and which was translated into Polish the year after its original (London and Leipzig) publications. From the Tauchnitz lists of recent titles that were bound in with them and from Stanley Paul and Co. lists of similar date, it seems that Restitution must date from about July 1908, and both Exotic Martha (whose Scottish heroine follows her Dutch fiancé to Java and experiences jilting, false accusation of murder, imprisonment, and near seduction before she is rescued by an old flame from her youth) and A Glorious Lie from about January 1912.

CG became a regular contributor to Blackwood's, recruited, as Margaret Oliphant recorded, by Samuel Warren . Oliphant noted her quickness to learn the going rate of remuneration for her several light articles. The Blackwood brothers asked her for short lively papers and then feared she was writing too many, too quickly.

After the appearance of her first novel, EG was taken up by Nancy Pearn and David Higham of the newly founded agents Pearn, Pollinger and Higham . They advised her to write short stories for the Strand magazine. EG wrote that Pearn regarded her writers as her children: Kate O'Brien and Stella Gibbons and you, I've had you from the cradle.

CG worked for many years as a professional journalist and published short stories for papers like The World, Punch, and Hood's Comic Annual.

KG 's comprehensive art school education prepared her to foray into the world of illustration. In 1868, at the age of twenty-two, she exhibited a selection of drawings at the Dudley Gallery in Piccadilly, London, which attracted the attention of the editor of the People's Magazine. He was impressed by her work, and began to include her drawings of fairies and children in the magazine. KG also produced designs for birthday cards and valentines for Marcus Ward and Co. , and found great success with a Valentine's design that sold over 25,000 copies in a few weeks. While completing design work, she was motivated by eagerness to write letterpress to accompany her illustrations.