It is rough out there for New Adult. As for content (violence, drugs, swearing) this comes down to the brand identity of the imprint, really. Some imprints will published edgier, gritty, dark YA. Some won't. That will be an important part of submission strategy.

I’d send, but mention this info at the top of the query.

Character development!

When the manuscript is finished to the best of your ability. Before you query, sometimes before you sub, and often after contracted. It depends on the book and the stage of your career, as well as the subject matter.

Personally, I want to work with my clients for the long haul and grow as they do, so I would work hard to get the necessary contacts to pitch whatever they write. If it’s truly beyond my skill, I’d loop in another agent in house with that expertise. Other agents might not do this

I’m biased but I definitely think all creators should have an agent before entering into a publishing contract of any kind! I’d query and mention the editors interest. Subrights are a whole ball of wax and not sure I can do them justice in a single tweet!

First ask yourself why you feel the need to write in a voice that’s not your own. Then do your research, and recognize that it’s likely that you’ll do harm even if that’s not what you intend. Be prepared for that and be willing to learn and do the work.

I think it is useful. If not in the query then definitely on an offer call.

I mean, we are all doing our best. Some people cope by throwing themselves into work. Some people are reading less right now. No one knows how long this will last. I really think you have to make the choice that is best for *you* because the other factors are too unreliable.

You need to write the book you want to write, and you need to figure out your category and audience before you query. An agent might suggest changing it, but you need to come in with a clear point of view. Don’t leave it open ended.

I can’t imagine requesting something I hadn’t read (outside of live pitches, pitch contests, etc), so if you sent 5 sample pages then it’s safe to assume I’ve read them if I’ve requested the full. I imagine this would be true for everyone but maybe not?

I want you to take as long as you need to revise. A few months is probably average, but I’ve had R&Rs take a year before. If you’re querying though your MS should be finished and ready to send ASAP.

When querying, market your book as what it is, period. Don’t set up false expectations to fit a market trend. It will backfire. I see a lot of projects that are pitched incorrectly.

Number of books contracted is always negotiated at the offer stage (auction or otherwise). And agent and author should have a clear goal in mind, and of course the editor will have a publishing plan as well. Both sides then negotiate to come to an agreement.

I read until I have a reason to stop. Sometimes that’s after the first sentence. Sometimes it’s after 50 pages.

Word count matters because it directly ties into production costs and and retail pricing for the finished product. Your words counts need to be appropriate for the category. Exceptions always exist of course, but never plan to be the exception to a standard rule.

Depends entirely one what type of feedback you’re getting in those passes! If you get the same consistent notes you need to revise or shelve it. If you’re just not gaining traction, maybe keep going until you find the right fit.

In some cases it can be useful, but it’s not nearly as important as pitching your story.

Experience and prior credits are always useful! It shows you can work with deadlines or produce a finished product, etc.

I ask for R&Rs when I love something (concept, characters) a lot but feel the book needs more work before I’m confident in the author’s abilities. An R&R is a good way to see if an author can revise and take notes. I personally only ask for them very very rarely.