Sentences with phrase «never see their book in print»

Most writers who want to go the traditional route for publishing never see their book in print (or in e-book form).

Not exact matches

In my book, leopard print never really left but it's exciting to see all the new options that have recently been launched into the market this season.

The book seems to be out of print, but is worth digging up to see how Japan defined gaming in ways you never realized.

The emergence of print - on - demand means you never have to print and warehouse a costly quantity of your book just to see it in print.

But then I see new books — good books — by writers in the region whose names I'm just beginning to recognize, and others by authors long familiar to me, and still others by people I've never heard of, and my confidence grows that no matter where the rest of the country is heading with the printed word, the South is moving in the right direction, and picking up speed.

Here's the sad truth: most people who write a book will never get it published, half the writers who are published won't see a second book in print, and most books published are never reprinted.

When I started double - shelving print books and saw my Kindle and Nook were both in triple digits realized I can never read all of them and probably don't want to read a lot of them, and as you say if I change my mind there is the library or Amazon.

Every day, established, talented book authors are writing 3000 — 5000 words for readers who will never see those words in a printed book.»

But in the old days when print was the only way to read, when submitting to the terms of traditional publishing houses and B&M stores was the only way to get a book to market, when you had to buy a book as soon as you saw it or risk never seeing it again... Well, those dsys are gone.

The book seems to be out of print, but is worth digging up to see how Japan defined gaming in ways you never realized.

Looking back, I see that's what prompted a lot of the prints: the Metropolitan Museum's Mezzanine Gallery, under Danny Berger, commissioned Summer and Turkish Delight; In a Public Garden was made to raise funds for the Kunstverein, Dusseldorf, where Raimund Stecker curated a show of my paintings; Books for the Paris Review is self - explanatory; Norwich was intended to raise funds for the Elton John Aids Foundation but that never happened — instead, I made Two's Company for them; Sea was made to subsidise Thames & Hudson, who published the catalogue raisonné of my prints and Sunset was made as The Whitechapel Gift: proceeds to support the Whitechapel Gallery's education programmes.

The content and strategies presented in this book are phenomenal and literally something I've never seen in print.