The manuscripts of late Saudi writers that have not yet been printed constitute an important aspect of unknown literature. Readers and researchers have not yet recognized them because the families of these late writers keep them and cannot find the means to print them. 

These manuscripts may change a certain literary vision towards the creative product of this or that writer, or reshape an artistic, expressive, and aesthetic feature for him, or renew valuable information related to his literary biography.

Thus, these unprinted manuscripts are very important from a literary, critical, and cultural point of view in general. 

Although one of the recommendations of the Saudi Writers' conferences called for "limiting the sources of Saudi literature inside and outside the Kingdom, both manuscript and printed," as stated in a book by Dr. Abdullah Al-Haidari in which he collected the recommendations of the Saudi Writers' conferences, that did not happen, and no kind of inventory of these manuscripts was done. 

The narrator and writer Muhammad Al-Mansour Al-Shaqha believes that the Literature, Translation and Publishing Commission is supposed to perform the duty of printing manuscript works as a national project, and there are works that can be printed such as the novels of Ibrahim Al-Nasser Al-Humaidan at least. 

In Europe and America, they are very interested in collecting anything written by writers even if it was on a ticket or a notebook. This happened with writers in France, Germany, England and Italy. In fact, some Arab countries such as Egypt, Lebanon and Iraq collect these manuscripts regardless of their type or size. 

In the Kingdom, the novelist Ibrahim Al-Nasser Al-Humaidan left some manuscript writings and they were not collected, even his printed novels were not collected in one volume. Likewise, there are a large number of late writers whose manuscripts have not been printed, including:

The writer Abdullah Nour, for whom no book was collected, although he has many writings and research in linguistics and literature in which he used to participate in various seminars, including his research on the aesthetics of Arabic acoustics which he delivered at a seminar in the Riyadh Literary Club in 1996.

And the poet Hizam Al-Otaibi, who has many poems that have not been printed in a Diwan. 

As for the poet and writer Abed Ibrahim Al-Abed, he has a collection of manuscript poetic plays, and a manuscript poetry Diwan, and an encyclopedic book entitled: (The Ahmadi Poets) in which he collected all the poets whose name starts with the name (Ahmed) such as Al-Mutanabbi, Abu al-Ala al-Ma'arri, Ahmed Shawqi, Ahmed Fathi, and others, as well as a collection of poetic plays.

There are a large number of Saudi writers who passed away and left manuscripts that have not been printed, such as Abed Khazandar, Abdel Fattah Boumedien, Abdullah Manna', Ahmed Al-Harbi and others. 

The narrator and novelist Khalid Al-Youssef emphasizes that he strongly supports that one of the publishing entities adopt the printing of the manuscript works of Saudi writers, and calls for monitoring these works and following them up until they come to light. 

Among these works, as Al-Youssef points out, are the works of the narrator Abdullah Al-Salmi, who is one of the symbols of the short story in the Kingdom, and the works of the writer Aziz Dia, whose heirs keep (17) files of his works, especially in the field of translation. He is one of the first Saudi translators as he began translating Western works since 1342 AH and only 14 books were published and the rest are preserved. 

Al-Youssef adds that there are translations by the Saudi translator Khalid Khalifa in the field of the short story that need to be printed and published, as well as for the late poet Hamad Al-Hajji, and there are names in the short story, poetry, critical studies and university theses.

Printing these works constitutes an important documentation and a qualitative addition to Saudi creativity.