An Inside Look at Traditional Publishing From Authors and Book Coaches Lauren Marie Fleming and Richelle Fredson
If you’re obsessing over “the perfect, original book idea,” you’re aiming at the wrong target. The book that’s most likely to land you a traditional nonfiction deal isn’t the trendiest concept — it’s the one rooted in your lived experience, tested in real life, and written from the version of you who needed it years ago, not the version of you chasing the next big thing.
This episode of Kind of a Big Book Deal, hosted by traditional publishing expert Meghan Stevenson and featuring fellow book pros Rochelle Fredson and Lauren Marie Fleming, digs into how to choose and shape a nonfiction book idea that can actually get a traditional deal — and what to avoid along the way.
What Kind Of Nonfiction Book Should You Write To Get A Traditional Deal?
Their central answer:
Write the book you needed five, ten, or twenty years ago, not the book you personally need next year.
Ground your book in what you’ve already done and guided others through, not what you hope to do someday.
Stop chasing trends and trying to “one‑up” other authors; instead, bring your voice, your stories, and your passion to a topic that’s already proven to matter.
Agents and publishers aren’t asking you to reinvent the wheel. They’re asking:
How does your lived or learned experience give you a fresh take on something they already know how to sell?
Will this book still be useful and relevant years from now, not just during a fleeting trend cycle?
Bring Your Lived Experience To The Page (Not Just Your Credentials)
Rochelle, who coaches authors on concepts and proposals, looks for mission‑driven clients:
People who want to “make the world a little bit better” through their lived or learned experience.
Authors whose stories and perspectives can change narratives and amplify voices that need to be heard.
She stresses:
Credentials and letters after your name are great — but lived experience and stories are what make the work truly impactful.
The book should be about you, but it’s not for you; it’s a consumer product meant to meaningfully serve the reader.
So when someone comes to her saying, “I want to share my story,” but can’t articulate why or what the reader will gain, that’s a red flag. The intention behind the story — how it will serve others — has to be clear if you want traditional publishing to get behind it.
Write The Book You Needed Then, Not The Book You Need Next
Lauren’s biggest “disappear this mistake” is authors trying to write the book they personally need right now, rather than the book they’re truly expert in.
She sees it constantly:
Clients come back from a spiritual retreat or hype event saying, “We’re changing the whole book, it needs to be about spirituality now,” even though that’s not their established expertise.
Entrepreneurs, who are naturally forward-looking visionaries, want to write about what they’re moving into, instead of what they’ve already mastered.
Her advice:
Write the book you needed on the shelf as a kid, or twenty years ago you — not the book you need five years from now.
Meghan echoes this with an example from her client:
A woman writing about basic business principles for brand-new entrepreneurs from marginalized communities isn’t writing for “CEO her in 2026”; she’s writing for the version of herself who was a single mom, unemployed, with five kids in her mom’s house, needing fundamental guidance.
When Meghan remembers which “version” of the client the book is truly for, she can better support the author through imposter syndrome and delays.
For you, that means:
Identify the past you who was desperate for the roadmap you now have.
Make that person the book’s reader, and make what you’ve already guided others through the book’s core content.
Stop Chasing Trends: Evergreen Beats “Hot Right Now”
All three experts agree: trend‑chasing is a trap, especially in traditional publishing where books take years to come out.
Lauren points out:
By the time the industry realizes “dragon romance” or “sparkly vampires” are hot, readers have already devoured the key titles, and the trend is fading.
Rochelle adds:
Most aspiring authors have no idea how long book production actually takes; what’s trending today will look very different in two and a half years.
Publishers are risk‑averse and often prefer a fresh take on a tried‑and‑true topic over a completely unproven trend.
Meghan illustrates with AI:
They’ve been urged to include AI advice in books, but she refuses because laws and tools are changing constantly.
Any AI‑specific guidance in a 2026 manuscript could be outdated — or flat‑out wrong — by the time the book hits shelves in 2027 or 2028, undermining the reader’s trust in the rest of the advice.
So they favor:
Backlist‑friendly books: titles that stay relevant and sell for many years.
Evergreen frameworks that can be applied across cycles, with trends addressed later through ongoing content and marketing.
If you want a traditional deal, focus on:
A topic with enduring relevance.
A unique angle grounded in your voice and experience.
Examples and tools that won’t age out overnight.
Green Flags: What Makes You A Great Client For A Book Coach Or Proposal Expert?
Each expert names their “green flags” — signals that someone is ready for serious book work.
Rochelle’s green flags:
You’ve done the homework: road‑tested the idea, taught it, spoken about it, gathered real-world feedback.
You come with a level of certainty that people truly want this from you.
You’re coachable: open to thought partnership, willing to pivot based on market feedback and expertise.
You bring good energy and treat the book process like a creative playground.
Lauren’s green flags:
You’re not actively in your trauma; she prefers “scars, not wounds” so the work can focus on integration and storytelling, not raw pain.
You “match her freak”: you’re excited about long-term collaboration, community, and doing the work over time.
You agree to not be an asshole, show up consistently, and choose collaboration over competition.
Meghan’s green flags:
The energy clicks early — on the first call or as they get to know you.
Your book concept feels backlist‑ready: less trendy, more likely to sell for years.
You’re interested in changing a narrative, especially in spaces like “black books” (books by Black authors often marketed primarily to Black readers) where she runs interference for clients with publishers.
If you recognize yourself in these green flags, you’re likely ready to invest and collaborate at the level traditional deals require.
Red Flags: What Makes A Book Idea Or Client A “No”?
They also outline clear red flags — warning signs that something isn’t ready or aligned.
Rochelle’s red flags:
“I want to share my story” without clarity on why or how it serves the reader.
A lack of awareness that investing in support is how good books get made.
Authors who try to tap every free resource without putting meaningful time, energy, or money into the process.
Lauren’s red flags:
People focused only on money and prestige — “I want a six‑figure deal and my book in every airport in six months” — with no receipts or willingness to put in long-term work.
Prospective clients who demand exhaustive “proof” and numbers but haven’t even reviewed her website or vibe; that often signals misalignment.
Meghan’s red flags:
Clients who are rigid, bossy, and resistant to collaboration — especially if they’re still in trauma about their topic.
Book ideas that spend 300 pages talking about a problem with no real solution or action for the reader.
Taken together, the message is clear:
Traditional‑caliber book work demands humility, intention, and reciprocity. If you’re not ready for that, it may not be time for a deal yet.
The Biggest Misconception: “My Book Will Make Me Rich”
When Meghan asks about the biggest misconception around traditional publishing, all three experts agree:
The idea that the book itself will make you rich or famous.
Rochelle’s perspective:
She advises clients not to treat the book as a revenue stream for the first couple of years.
Instead, see it as a door-opener:
Lauren’s lived reality:
She has a book in every airport and bookstore in the nation, which is a huge deal — and she’s spent roughly four times more on the book than she’s earned directly from it.
She still thinks it’s worth it, but she’s clear: the financial ROI on the book alone is often low, given unchanged price points and rising costs.
She advises:
Ask whether traditional publishing is right for this particular book.
Some projects (like her self‑published Writer’s Career Guide or a client’s Taxes 101 for Entrepreneurs) are better as quick, practical guides to reduce support load — no trad deal required.
Be aware that self‑publishing can be held against you if your long-term goal is traditional; talk to an industry professional first.
Meghan’s framing:
Your advance is something you invest back into the book — on creation, marketing, and platform — so ideally you break even on the advance with those investments, then reap long-term career benefits.
Bottom line:
A traditional book is a strategic asset, not a standalone money machine. Plan for career impact, not instant riches.
Choosing Between Traditional, Hybrid, And Self-Publishing
The episode also touches on publishing paths:
Traditional publishing:
Hybrid publishing:
Self-publishing:
Ideal for books meant primarily as business tools or FAQs (e.g., guides your clients can read so your team doesn’t have to repeat answers).
Can be a great choice if you don’t care about traditional deals down the line.
Risky if you do care, because some traditional houses will view a low-performing self‑pubbed book as a negative signal.
The key advice:
Talk to industry insiders about your goals before locking in a path.
Make a conscious decision about what each book needs, rather than defaulting to “put it on Amazon and hope.”
Platform: More Than Social Media Followers
When Meghan asks what aspect of publishing Rochelle would “disappear,” Rochelle chooses the industry’s narrow focus on social media as the main platform metric.
She argues:
There are powerful platform “buckets” that can sell books better than social media ever will:
Some of her clients with hundreds of thousands of social followers have sold fewer books than clients with strong speaking and corporate pipelines.
Meghan agrees:
She sees her mission as explaining to publishers how unconventional platform types will sell books.
She has clients who speak to 100,000 people a year but only have a few thousand followers online — and also creators with millions of followers. Both can sell books well; they just use different channels.
Takeaway:
Platform is broader than social media.
If your strengths lie in speaking, teaching, or corporate work, lean into those — and be ready to articulate their value in your proposal.
Conferences, Retreats, And Vetting Experts
Toward the end, they tackle how authors should (and shouldn’t) invest in learning and support.
On conferences:
Meghan and Rochelle are skeptical of big, general writers’ conferences, especially those that offer “agent speed dating,” where both sides are overwhelmed and real deals are rare.
Lauren notes many conferences charge authors to pitch agents while agents also pay to attend — creating exploitative dynamics and low success rates.
They suggest using modern resources instead:
Local, community-focused conferences and writing retreats that prioritize actual writing and connection can be valuable, especially when they emphasize “butt‑in‑chair time” over theory.
On vetting experts:
Rochelle has seen predatory marketing and programs proliferate as “write a book” has become a status symbol.
She urges writers to:
Meghan shares a story about a freelance editor whose fees were low because he had no house experience or agent relationships — illustrating that background matters.
Lauren clarifies:
Her red flag is not people wanting proof, but people who approach her solely as a “deal machine” and ignore the ethos and content clearly laid out on her site.
She wants relationships that are mutual “hell yes,” not hard sells.
For you, that means:
Vet coaches and editors thoughtfully.
Make sure their experience matches your goals (traditional deals vs. boutique self‑pub, long‑term process vs. quick wins).
Choose support that emphasizes craft, resilience, and strategy, not just hype.
One Piece Of Advice For Entrepreneurs And Experts Who Want A Deal
Meghan closes by asking: what’s one piece of advice you’d give entrepreneurs and experts who want a book deal, often needing to prove out their idea, build IP, and grow platform?
Rochelle’s advice:
Do the thing.
Get into community as you test your idea — workshops, speaking, spaces where you can feel how your content lands.
Stop trying to do content “the right way”; instead, choose formats that fit how you actually like to teach (podcasts if you hate video, etc.).
You don’t have to be everywhere; focus on the channels that work for you and your audience.
Lauren’s advice:
You need two buckets:
Make the process fun and creative so you stay with it — retreats, community, experiments like “33 Asks” to stretch your comfort zone.
You cannot do this alone: hire professionals if you can, find community if you can’t, and vet your experts carefully.
Meghan’s throughline:
Be reader‑aligned and business‑minded.
See yourself as a business partner, not someone begging for approval.
Use free resources (podcasts, quizzes, masterclasses) to understand where you are and what needs to come next, then invest when you’re ready.
Questions Answered In This Episode
What kind of nonfiction book should entrepreneurs and experts write to maximize their chances of a traditional deal?
Why is it better to write the book you needed in the past rather than the one you want next?
How do lived experience and mission-driven work shape strong book concepts?
What are the green flags and red flags book coaches look for in potential clients?
Why is chasing trends (like AI) risky for long-term book relevance?
What is the biggest misconception entrepreneurs have about books and money?
How should authors think about traditional vs. hybrid vs. self-publishing for specific projects?
How can non-social platforms (like speaking) be powerful for selling books?
What makes conferences and “agent speed dating” often poor investments?
How does being an author change your perspective on publishing, ROI, and joy?
What single piece of advice would each expert give entrepreneurs and experts who want a traditional nonfiction book deal?
This week’s guests are Lauren Marie Fleming and Richelle Fredson.
Lauren Marie Fleming (xe/her) is a multimedia storyteller and the founder of School for Writers®. Her work explores power, desire, resilience, and the stories we tell about our bodies and our lives.
Xe is the author of the queer rom-com Because Fat Girl and multiple nonfiction books, including Bawdy Love: 10 Steps to Profoundly Loving Your Body and The Writer’s Career Guide.
Through School for Writers®, Lauren helps storytellers reconnect with their creativity, build resilience, and make writing feel less intimidating—and a lot more doable.
A graduate of film school and law school, Lauren has produced and overseen multimedia content for major stages and audiences, including two years as a Creative Content Producer for Tony Robbins.
Xe has been featured in Good Morning America, Glamour, and Cosmo, and has written for VICE, Curve, and The Huffington Post. As a speaker, Lauren has presented at universities and conferences including Yale, Brown, and Cal Poly.
A lover of a good story, Lauren will try almost anything once—as long as it’s gluten-free. When not traveling, xe can be found walking her dog along the beach in San Diego listening to an audiobook.
Learn more at LaurenMarieFleming.com or SchoolForWriters.com. Find her free Creative Resilience Toolkit at https://schoolforwriters.com/creative-resilience-toolkit/. Her 33 Asks program can be found at https://33asks.com and her Write Your Friggin’ Book Already ® program is at https://writeyourfrigginbookalready.com.
Find Lauren on social
Richelle Fredson is a book publishing coach and consultant working with aspiring and published authors to create impactful book concepts and competitive book proposals. Richelle’s clients have amassed over $6 million in book advances from top publishers. Her recent clients include Farnoosh Torabi, Shadé Zahrai, Chrissy King, Vanessa Marin, Chika Uwazie, and many more.
In addition to book consulting, Richelle also serves as a creative development consultant for clients growing their promotional platforms, starting podcasts, or bringing new creative products into their businesses.
Richelle is the host of the Forbes-featured Bound + Determined podcast, where she interviews industry experts, authors, and creative business owners. She’s also the creator of The Book Proposal Blueprint Program.
Formerly, Richelle was the Director of Publicity & Book Marketing for Hay House, also serving in Acquisitions.
Richelle is writing her first book, Do the Thing: A Creative and Practical Guide for Women Bringing Their Big, Bold Ideas to Life (Hachette, Spring 2027).
Learn more at Richellefredson.com.
Find Richelle on social at www.instagram.com/RichelleFredson
