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would write faster, especially at the beginning of their
learning curve. Here’s why.
First, you learn most about writing a full-length nov-
el by actually writing a full-length novel. It is much more
valuable to do this repeatedly than to hover too long over
one unfi nished (or unpolished) manuscript.
Second, you become a professional in the best sense
of the word (well, maybe second-best sense, the fi rst-best
being getting paid). A professional is someone who does
his job, every day, even if he doesn’t feel like it. A surgeon
can’t refuse to operate because he’s upset over the Laker
game last night. A criminal defense lawyer can’t ask for
a continuance so he can go to the beach and dream of
someday getting a client who is actually innocent.
And a professional writer can’t sit at the computer
playing Spider Solitaire, waiting for a visit from the
Muse. A pro is someone who writes, whether inspired or
not, and keeps on writing.
I’ve counseled many writers at conferences who have
come with a single manuscript yet haven’t got another
project going. I tell them, “That’s wonderful. You’ve writ-
ten a novel. That’s a great accomplishment. Now, get to
work on the next one. And as you’re writing that next one,
be developing an idea for the project after that.”
Publishers and agents invest in careers. They want to
know you can do this over and over again.
Some of the best novels of the past century were pro-
duced at a rapid clip by authors who found writing time
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