During the 1820s SA did a variety of anonymous translations from many languages, which demonstrate her versatility. Her eldest brother, John Taylor , who was a mining engineer, helped her find work translating scientific publications. She moved on to translate travel accounts and then some letters from French for the London Magazine. She built up a friendly relationship with the author of the letters, Stendhal , who affectionately called SAMister Translator. However, she had difficulty getting paid for her work.

At the age of sixteen, Isabella Varley (the later IB ) published her first poem, A Dying Girl to Her Mother, in the Manchester Guardian.

HB claims that she wrote her first poem, without help, at seven. It began: A little angel walked this earth. From then on she was always scribbling. At about nine she had an essay about a tiger (not a caged but a wild beast) read out to the whole school, and was told she had a very great talent. She implies that she was not yet seventeen when she had a poem accepted for publication in The Easy Chair (for which she was paid a guinea) and a story in the closing issue of Household Words. Standard library catalogues offer no corroboration for the first periodical title (except for The Easy Chair: A Little Journal for the Home, which was launched in Macon, Georgia, in October 1895 and seems to have been short-lived). The last number of Household Words appeared in July 1905, when Marguerite Jervis would have been well past sixteen. At the end of her Academy of Dramatic Art studies (still only sixteen, she says) she published a letter in the Daily Telegraph complaining that Academy training was no help in the struggle to find work in the theatre. The letter brought her an engagement as a dancer.

One of four parts of Marguerite Blessington 's first publication, The Magic Lantern; or, Sketches of Scenes in the Metropolis, appeared anonymously in the Literary Gazette.

From before the time her parents separated, EB was writing poems and stories. When her father left them, her writing became immensely important and consoling to her, and she began to dream of publication. She achieved this about a year later, when Arthur Mee printed a poem she had submitted to a children's-magazine poetry competition. After this she submitted over a hundred pieces for publication only to have them rejected. Only once at this time did she have a poem (untraced and presumably pseudonymous) published in Nash's Magazine. Meanwhile, however, she contributed the stories to a magazine which she ran with her two closest friends at school, which they called Dab from the first letters of its editorial team's surnames. Mabel Attenborough , the much older sister of one of these friends, encouraged EB (as her mother emphatically did not) in her persistent quest for publication. Enid also kept a diary, but she pared it to the bone after she discovered that her mother had read some of what she had written. It seems that her second husband protectively destroyed most of it late in both their lives.

FB 's work first appeared in print after three of her poems were accepted by the Irish Penny Journal.

In February 1899, when Pearl Sydenstricker (later PSB ) was six and her little brother had just died of diphtheria, she wrote (with her mother 's help) a letter to the Christian Observer, published at Louisville, Kentucky, about her siblings in Heaven. Clyde said he was a Christian Soldier, and that heaven was his bestest home. She became quite accustomed to winning prizes in the competitions for children's writing run by the Shanghai Mercury. During her last year in China, 1909-10, the Mercury published a long poem by her, and she was at work on a real novel with chapters. She wrote more poems and stories while she was a student at Randolph-Macon Woman's College , and published them in the college magazine.

Gertrude Elizabeth Blood (later LCC ) was first published at the age of seventeen with the article My Real Turkish Bath in Cassell's Magazine, based on an experience she had on a trip to Cairo with her family.

Once established as a scholar, MCC staked out a territory as a critic in On Shakespeare 's Individuality in His Characters, a series of articles carried by Sharpe's London Magazine during 1848-51. She also compiled Shakespeare Proverbs; or, Tthe Wise Saws of our Wisest Poet Collected into a Modern Instance, 1848.

After CFC finished her series, she became more involved with the contemporary social issues of her time and wrote several articles for The Westminster Review and Fraser's Magazine, published with her initials.

MGF published her first magazine article, The Education of women of the middle and upper classes, in Macmillan's Magazine, discussing lectures for women in Cambridge (the germ of Newnham College ).

EF wrote her first poems at play, while she bounced tennis balls against the garage door. When she showed one to a teacher and it appeared in the school magazine, she became hooked for life in an addiction as dangerous as any other. She wrote no poetry while she was an undergraduate, but began again as a young mother of two, at a bleak and emotionally disconnected period of her life, when the observing of visual and audible detail suddenly regained its importance for her. It was like coming back to life. She began making notes for poems, though the outcome had no importance for her compared with the process of writing. During the 1950s EF was already looking for poetic models. She was very bored with what seemed to me the New Movement's caution and tightness, and partly for this reason was much interested by poets of the USA, from Pound to Stevens and Ginsberg . In the two first poets, she has written, she found the reverse of tightness: a singing line like music. Casting around for female models, she found only women whose circumstances were very unlike her own, like the rather spinsterly figureStevie Smith (still alive and writing) and the country poetPatricia Beer . Later, Marina Tsvetayeva was a revelation.

As an unmarried girl, Joan Rosita Torr wrote an article on bird life which was accepted for publication. She also wrote the draft of a novel, but this she burned.

IOF 's first piece of journalism appeared in the Yorkshire Factory Times, an article titled Factory Legislation for Women that advocated on behalf of the female worker.

MG 's earliest adult writing was bound up with her political activities. She began with editing a woman's page in Labour News, our local baby weekly put out by the LeedsLabour Church . She filled these columns as best I knew. The Church had a weekly Sunday programme of two speeches, and one week MG was selected to deliver them. This was her earliest public speaking. Her first speech was entitled The Modern Pariah, a plea against the making of criminals, and was an attack on the plans for flogging put forward by certain potential criminals disguised as public-spirited citizens. She composed this for the morning meeting of committed members, and The Child under Socialism for the bigger crowd at night. She spent a great deal of time arranging her mass of material, then spoke without using the careful notes she had made.

Amabel Strachey , later AWE , wrote regularly for The Spectator, then owned by her father, John St Loe Strachey . Other relatives, such as Lytton Strachey , also contributed, and she was the journal's literary editor for 1922-3.

Jane Dunn 's biography says that in about 1919 AW combined her several other jobs with writing stories for the Westminster Review, but since the well-known, long-lived magazine of that name folded in January 1914 it appears that either the date or title must be mistaken.

As an undergraduate in Belfast, HW wrote poetry and delivered rousing addresses as President of the Christian Union . During the painful years before she became a graduate student at Somerville College , she collected Irish and Asian legends for a project of the publisher Edwin Arnold , and retold Bible stories for the children's magazine Daybreak. These, her only writing which her stepmother tolerated, were collected in 1949 as Stories from Holy Writ. From the latter The Story of Saul the King was separately published in 1966, abridged by Elaine Moss and illustrated by Doreen Roberts . Another project that HW worked on for Edwin Arnold was a volume of fairy tales from French, Italian, and Spanish. In 1917 she wrote The Princess Splendour and (from Perrault ) Puss in Boots. Publication was awaiting a fall in the price of paper, but The Fairy Ring at last appeared in 1921. She also wrote articles and reviews in national newspapers and magazines during the First World War, contributing to the Manchester Guardian, The Nation, and Blackwood's. She found it hard to write to order, however, both as to topic and exact length.

PLT wrote poetry and newspaper-style articles from childhood. Her earliest publication (as by Lyndon Goff was an article in the third term of 1914 in the Normanhurst School Magazine on a Grand Variety Entertainment). She was still in her teens when, during or soon after the First World War, Australian newspapers and magazines (like the Bulletin and Triad) began to publish her articles and poetry. She maintained a human interest column in a Sydney newspaper for about two years.

The first publication by Gordon Daviot (wrongly spelled as Davitt) was a poem in the Weekly Westminster (latest title of the Westminster Gazette), in an issue which also included work by Graham Greene .

ET began writing when she was four, and published her first story when she was ten, in the Sunday edition of the Prager Tagblatt. According to information supplied by her publishers, when she was fourteen and the Czech coal industry was on strike, a student paper carried an essay in which she described how well-heated her private school was. This was embarrassing for the Party and she found herself excluded from all further education by the Republic. However, she did not publish her first novel until twenty-six years later.

Normal Motor Automatism, by Leon Solomons and GS , was published in the Harvard Psychological Review.

Throughout their writing careers, Somerville and Ross produced quantities of stories and sketches for every kind of journal. Except for their full-length novels, almost all their books were compilations of shorter pieces periodically published.

She belonged to the Poetry Society at Oxford , contributed to the student magazine Isis, won a poetry prize from the teenage magazine Honey (for a female-student-voice answer to Christopher Marlowe 's The Passionate Shepherd to his Love, and been contacted by a literary agent.