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Lost Souls will be Fraser's last physical book release for quite some time, as he plans on transitioning to an entirely digital way of sharing his material with his students, via a subscription service.

In this book Fraser takes a look back through his notebooks and ties up various notions of his by updating, streamlining and refining various ideas, creating alternate methodologies, as well as finishing ideas which have never been released or seen before, outside of a small group of close friends. It contains entirely new work from Fraser as well as variations on older principles. Each of the methods taught will give you new ways to perform certain effects.

Included in the book is Fraser's never before seen work on the ideomotor response. He teaches you how to reveal a thought of colour after making a brief physical connection with the spectator by holding their hand for a few seconds. They think of one of the primary colours and are given the chance to mix it with another colour or to stick on their initial choice. The performer is then able to instantly reveal their thought of colour or use it later on in another routine. The colours can be linked to other information, such as thought of memories and emotions, enabling the use of this tool to be expanded into different revelations.

Also taught is Fraser's non contact ideomotor response where he gets a spectator to hold their hand above his for a few seconds, whilst they focus on a specific thought. Fraser is then able to reveal this thought or use it to gain leverage in another routine. He goes into detail on how he utilises this tool to perform a prop-less reverse name guess, where the spectator uses their intuition to guess the name the performer is merely thinking of.

Naturally, these ideas can also be applied to the prop-less star sign guess in interesting ways, as well as other categories of thought, such as numbers, drawings and symbols.

He teaches how you can utilise these principles in other languages too, so that you are not just limited to performing in the English language.

Fraser also teaches his latest work on the prop-less number reveal, which utilises the 're-frame' principle. He teaches two variations that could not be any more streamline or perfect in appearance. There is no snapping of the fingers or the need for the spectator to tell you when they have finished a mental task. You simply speak a few words and the work takes place, automatically.

There is also a new way to verbally force the spectator to think of a specific suit of playing card. This happens within the context of the spectator thinking of a card at random. It looks exactly as it would if the spectator was given a genuinely free choice of playing card that can't be influenced in any way by commonly thought of cards, with the selection only taking a few seconds. The only difference between illusion and reality is the performer pauses for a few seconds, whilst giving their instructions, which shifts the perception of the spectator and those who you perform for. This seemingly free choice of thought of card can then be used to perform different versions of the 'Any Card At Any Number' plot. Two versions of the effect utilising this premise are taught in this book.

Fraser also teaches his reverse pin guess and two way written out from 'Silent Poets'.