[1] On September 28, 1903, Douglas married Henry Lincoln Johnson (1870–1925), an Atlanta lawyer and prominent Republican party member who was ten years older than her.

In 1910, they moved to Washington, DC, as her husband had been appointed as Recorder of Deeds for the District of Columbia, a political patronage position under Republican President William Howard Taft.

While the city had an active cultural life among the elite people of color, it was far from the Harlem literary center of New York, to which Douglas became attracted.

Douglas' marital life was affected by her writing ambition, for her husband was not supportive of her literary passion, insisting that she devote more time to becoming a homemaker than on publishing poetry.

[10] Johnson's literary success resulted in her becoming the first African-American woman to get national notice for her poetry since Frances Ellen Watkins Harper.

Johnson's collection published as Bronze had a popular theme of racial issues; she continued to explore motherhood and being a woman of color.

The right to make my dreams come true, I ask, nay, I demand of life; Nor shall fate's deadly contraband Impede my steps, nor countermand; Too long my heart against the ground Has beat the dusty years around; And now at length I rise!

[1] Like several other plays that prominent women of the Harlem Renaissance wrote, A Sunday Morning in the South (1925) was provoked by the inconsistencies of American life.

This lesser known play premiered in Xoregos Performing Company's program: "Songs of the Harlem River" in New York City's Dream Up Festival, from August 30 to September 6, 2015.

"Songs of the Harlem River - a collection of five one-act plays including Blue-Eyed Black Boy also opened the Langston Hughes Festival in Queens, New York, on February 13, 2016.

Her work Frederick Douglass is about his personal qualities that are not as much in the public eye: his love and tenderness for Ann, who he met while still enslaved, and then was married to in freedom for over four decades.

[13] Johnson was one of the only women whose work was published in Alain Locke's anthology Plays of Negro Life: A Source-Book of Native American Drama.

[1] Although Johnson spoke out against race inequity as a whole, she is more known as a key advocate in the anti-lynching movement as well as a pioneering member of the lynching drama tradition.

Hull, through a black feminist critical perspective, appointed herself the task of informing those within the dark of the very fact that African-American women, like Georgia Douglas Johnson, are being excluded from being thought of as key voices of the Harlem Renaissance.

[16] Soon after her husband's death, Johnson began to host what became 40 years of weekly "Saturday Salons" for friends and authors, including Langston Hughes, Jean Toomer, Anne Spencer, Richard Bruce Nugent, Alain Locke, Jessie Redmon Fauset, Angelina Weld Grimké and Eulalie Spence — all major contributors to the New Negro Movement, which is better known today as the Harlem Renaissance.

[10][18] Johnson's S Street Salon helped to nurture and sustain creativity by providing a place for African-American artists to meet, socialize, discuss their work, and exchange ideas.

[17] She has been described as "a woman of tremendous energy, much of which she channeled into her effort to create for the writers who gathered in her home on Saturday nights an atmosphere that was both intellectually stimulating and properly supportive.

"[21] Between 1926 and 1932, she wrote short stories, started a letter club, and published a weekly newspaper column called "Homely Philosophy".

[22] The column was published in 20 different newspapers, including the New York News, Chicago Defender, Philadelphia Tribune, and Pittsburgh Courier and ran from 1926 to 1932.

[24] In 1962, she published her last poetry book, entitled Share My World, the poems in which reflect on love towards all people and forgiveness, showing how much wisdom she has gained throughout her entire life.

In 1965, Atlanta University presented Douglas with an honorary doctorate of literature, praising her as a "sensitive singer of sad songs; faithful interpreter of the feminine heart of a Negro with its joys, sorrows, limitations and frustrations of racial oppression in a male-dominated world; dreamer of broken dreams...".

[25] When she died in Washington, D.C., in 1966, one of her sister playwrights and a former participant of the S Street Salon, sat by her bedside "stroking her hand and repeating the words, 'Poet Georgia Douglas Johnson'".