You mentioned the month of July was given to 3000 words per day. Is that a solid day's work for you? A longer day? I'm doing my best not to compare of course, just trying to see what benchmarks look like for you well-published folks, so I have an idea of what I might want to push for once I get my writing stamina up. And, of course, you're an author I enjoy, so I'm curious about that beast of an indefinable thing, The Writing Process (alongside the oft-discussed outlines).
Well, the 3K per day goal is (a) in terms of simple mathematics a desired outcome in order to have at least 90K of book done by the end of the month, and (b) as they say in Pirates of the Caribbean – more of a guideline than an actual rule. If events so conspire that I only get 2K done in a day, fine, but I expect myself to make it up over the next day or so.
And of course they have to be the right three thousand words. So… no pressure. :)
That said: 3K words of writing in a given day is what I class as “nonstressful”. Normally I can do it in one session, say between nine in the morning and 1 PM, when I like to break for lunch and the news on RTE if I can. 5K to 7K begins to take more time: I can’t do it between lunch and dinner – have to add on a morning or evening session. I can do 10K per day for some days at a stretch if I absolutely have to, but it doesn’t make me happy (because of the tension of having to do it, not at all because of any quality concerns) and leaves me wrung out. (For those who won’t be able to bear not knowing, my per-day record is a tad shy of 14K. But I rejoice to tell you that one day in twenty-two hours of writing, @petermorwood did 15K… the house record to date. He was finishing the last of the Russian fantasy books, as I recall. And his editor said that was some of his best writing ever.)
The medium I’m working in is also an issue. If I do ten pages of screenplay in a day, which word for word is WAY lower than a normal day’s prose wordcount, I’m well pleased with that… though again I can do and have done better when under pressure. When rewriting the Ring miniseries, for example, I routinely did fifteen to twenty pages a day. But that was rewrite, and I had (a) my producer sitting desk-to-desk with me, a friend I very much wanted to please by solving this problem for him, and (b) the satisfaction that on every day on which I successfully fixed the busted pages that were being handed to me, I was really pissing off somebody else in the production chain whose pissing-off I desired more than anything.
Motivation is a wonderful thing. You could call this Duane’s Third Law if you liked: Writing speed is determined by motivation. By which I mean an ever-shifting matrix of internal-world and external-world considerations. When’s the deadline, when’s the REAL deadline, is your editor happy with you, is your publisher happy with you, are the sales staff happy with you, how much trouble will you be in if you miss the deadline, how awful will you feel about yourself if you miss the deadline, how will taking longer than planned over this work affect your business life (i.e., how soon will you starve), how much do you want to tell this story, are you happy with how you’re telling this story, are you happy with your outline, is the story holding water or in the course of execution is it springing leaks at the seams that are going to make you have to stop and patch them or start bailing? (Which means you lose active writing time.)
…And so on. I say nothing of the inevitable existential questions that arise from the depths of the mind during any given workday and can affect the speed of output. What on Earth made me think I could pull this off, don’t be silly, of course I can pull this off, I’ve done it hundreds of times before, okay, tens of times, what’s the word I need here, oh God I can’t think of the word, I’m going senile, oh good Peter doesn’t know the word either, we’re going senile together, why in God’s name do I find that reassuring, does this interaction feel genuine, this sentence is too long, all these sentences are too long, who the fuck do you think you are, Faulkner, is there better science on this issue lately, I think this character may need killing, this chapter is too short, structurally this thing needs to happen later, I want to take a break, if I take a break I’ll lose the pre-lunch impetus, hmm, lunch, there’s a thought…
So you see how it goes. At the end of the day (or even in the middle of it), daily output is a kind of “how long is a piece of string” question. I make a plan and then see what happens to it in the execution – always remembering von Moltke’s sage (and accurate) observation that no battle plan survives contact with the enemy. And if I don’t achieve my target one day, I pick myself up and dust myself off and resolve to do better the next day, because… what the hell else can I do? I signed up for this. :)
Anyway, hope this helps. :)