What Projects Is Rachel Deloache Williams Developing Now?

Some days I catch myself scrolling through interviews and thinking about how strange it feels to watch someone turn a personal ordeal into something that helps others think about trust, privilege, and storytelling. Rachel DeLoache Williams burst into wider public view after her story about being conned by a fake heiress went viral, and that led to her writing a memoir called 'My Friend Anna' that laid out her side of the story in detail. Since then she’s been pretty active in media — longform interviews, podcast conversations, and live events where she talks about journalism, boundaries, and what it’s like to be both subject and author. If you follow her on social, you’ll notice she posts about appearances and occasionally teases writing projects, which is where the breadcrumb trail for “what she’s developing now” usually shows up first.

From what I’ve pieced together by following her public feed and the publisher updates, she’s been doing two things in parallel: promoting her book and exploring adaptations and other longform storytelling formats. That often means meetings with producers, talking to podcast producers about serialized storytelling, and being involved in option conversations — sometimes that leads to something big like a TV adaptation, and sometimes it ends with a small digital series or a podcast season. I’ve seen authors in similar spots get involved as consultants or co-producers, especially when their lived experience is central to the narrative. Rachel has mentioned collaborating with journalists and creatives who want to dig deeper into the cultural currents around the case, so an adaptation or a documentary tie-in wouldn’t surprise me.

Beyond the screen possibilities, she’s been doing writing gigs and essays that build on the themes of her memoir: trust, trauma, and the social structures that let cons like that happen. A lot of writers use the momentum from a memoir to launch into related nonfiction projects — think investigative deep dives, profile collections, or even work that branches into personal-essay territory about healing and recovery. She also pops up on panels and gives keynote-style talks; those public appearances can sometimes turn into workshop series or teaching gigs, which are projects in their own right. If you want the most reliable, up-to-the-minute info, check her official author page and her publisher’s site, and follow the profiles where she posts announcements and event dates.

Personally, I love watching this stage of a writer’s journey — it’s messy and hopeful at once. If you’re curious about concrete updates, I’d bookmark her publisher’s page and set alerts for her name on news sites that cover publishing and entertainment deals, because that’s where things like option pickups and production news show up first. Also, drop into a recent podcast episode with her; you often get the best hints there, with the most honest tone.

I tend to follow publishing gossip like it’s a sport, and Rachel DeLoache Williams’s trajectory after writing 'My Friend Anna' has been one of those stories that keeps looping back into my mentions. She’s been active in interviews, and when a memoir lands like hers did, the natural next moves are adaptations, speaking circuits, and more writing. Lately, I’ve seen her name in connection with a handful of likely projects: consulting on visual adaptations, pitching follow-up essays or a second book, and participating in curated live events. None of those are surprising — authors in her position often get courted by producers and podcast creators who want the firsthand voice rather than a purely journalistic retelling.

A practical way I track someone’s ongoing projects is through industry outlets like Deadline, Variety, or Publisher’s Weekly, plus the author’s own channels. Rachel posts updates and posts about appearances, and those posts are the clearest indicators of what she’s actually prioritizing. Beyond that, IMDb pages can reflect any credited involvement in film or TV projects, and production companies will occasionally issue press releases when they’ve officially optioned a book. If you’re hoping she’s writing another book, keep an eye on her interviews: writers usually hint at new book ideas long before any formal announcement. In some conversations she’s reflected on the emotional labor of being the person at the center of a true-crime narrative; that theme lends itself to a follow-up project that could be more introspective or broader cultural analysis.

I also want to highlight that her public activity suggests a sensitivity to how her story is used — she’s been vocal about nuance and fairness, which means any adaptation or collaboration might take longer as she’s careful about creative control and ethics. That can actually be a good sign; it often results in more thoughtful and accurate projects rather than rushed headline-chasing. If you’re eager for specifics, set Google Alerts for her name, watch the publisher’s announcements, and check podcast platforms for episodes featuring her. You’ll catch production announcements or book deals there first. Personally, I enjoy hearing authors talk about the messy middle where ideas are being shaped — it’s quieter than the book launch but where a lot of meaningful work happens.