Unfortunately there were not books when I first started out in this business outside Magic & Showmanship by Henning Nelms and maybe the Amateur Magician's Handbook by Henry Hay. . . . for me it was a load of pros from magic and theater as well as PR companies that pulled all the strings, I just wore the suit, said my lines and acted cute.
There is a book, I think Diane Zimmerman and Pam Thompson put it out in the 80s about being a magician's assistant that will help you understand things from the helper's point of view. This is something most of us never think about as we create a program.
If you are looking at grand illusion I can help you with most everything but the big $$$s needed for doing it. . . but there are cheats, starting with the Darwin book of Inexpensive Illusions. . . much of the material in that book has been used by major headliners in Vegas over the years but it's stuff you can make with cardboard and some fabric, etc. low end versions of yesteryear miracles like the DeKolta chair, sub-trunk, etc.
It's really up to you to simply sit down and think out each sequence in the show, starting with an opening act that is 3-6 minutes (usually) in length. Will that be a Lance Burton styled manipulation act? The Blackstone styled Flower Act? or are you just going to open with comedy and patter?
YOU are the only one that can formulate these things and don't be afraid of tradition, it has significant value in a stage show. But, put your spin on things; if you do the canary, egg, lemon & orange trick then do it differently than what is typically seen, same goes with a Miser's Dream . . . MAKE IT YOURS!
HERE'S AN EXAMPLE. . . .I've been planning to do a particular Rice Bowl routine for close to 30 years now; an expansion to the routine I was doing at Pagan gatherings and Renaissance Fairs back in the 80s. I have only now acquired the handful of items needed (included custom Rice Bowls) for making this act real. . . I've held to that one vision for decades, slowly working towards it. Finally the situation fell into place that has made it more than I'd originally envisioned. The thing is, what I do with this long forgotten classic makes it MY ROUTINE, something no one else has or (hopefully) will do again until I'm long gone. I've done this with a number of effects over the years which is why, when I'm booked, those pieces are requested by talent buyers or the client. This is how you become a "brand name" and not just "another magic buff doing tricks at base fees" .
Hope these insights help you out but feel free to touch base any time.