I know the feeling.
In this book, we watch as Mr. Smith writes three novels. One is a ghostwriting project that he is writing for an unidentified major author. Mr. Smith has already been paid to deliver a 70,000-word book. He budgets ten days of writing, and of course he nails it, writing on average 6,895 words a day. (Day #7 he “only” writes 3,005 words. Day #9 sees his greatest output: 9,373 words.)
In the second third of the book, he writes a book in seven days (a short novel of about 43,050 words), starting with a goal of hitting 3,000 words on Day 1, and adding 1,000 words each day after that. On the 7th day, he must hit 9,000 words. He “only” hits 7,000, but by then the story has neatly concluded.
In the last third of Waltese Falcon, Mr. Smith takes a vacation to hang with his poker buddies in Vegas, and manages to write yet another short novel (37,100 words) in five days. He doesn’t own a laptop, so he humorously seats-belts his giant iMac to the back seat of his Caddy, cushioning it with pillows, and barrels off to Sin City.
You might quibble with the lengths of the last two books, but he explains that he is a devotee of the great writers of the pulp fiction era, whose novels typically clocked in under 50,000 words. He argues that publishers in the modern era began contracting longer books from writers so they could charge more for them.
More significantly, he loves challenging himself to write at speed. He never plots anything in advance—not even the ghostwriting project—choosing to “write into the dark” each time. (During the writing of the ghostwriting project, he laments not knowing where this “stupid” book is going.) But each time he figures out the plot points and wraps each of these stories to his satisfaction.
He’s proud of the seven-day book because he had just turned 65 years old at the time, and was frankly wondering if he was too old to pull off an “add-1,000-words-each-day” challenge. He clearly wasn’t.
What made the biggest impression on me as a reader and writer is how much other work he accomplishes in his regular work days. He takes careful notes of all his activity, and shares his daily schedule with us. He usually wakes at noon, checks in at the offices of his publishing business—then located on the Oregon coast—and does all the things the head of a small firm usually does. Bank runs, dealing with movers, buying office furniture, keeping up with emails and bills. (I believe that during this period he may have also owned and operated other businesses in town, such as a collectibles shop.) So that work also consumes his time. And of course he’s hanging with his wife and pets, enjoying decent lunches and dinners with Rusch and friends, and watching a whole lot of television.
Usually he gets to his writing computer about 6 p.m. and writes in bursts of 50-minute sessions into the wee hours of the morning. He estimates that he required 42 such sessions to write the 43,000-word book. “In other words,” he quips, “I typed at the blazing speed of 20.5 words per minute.”
This impressed me because like everyone on the planet, I feel that I constantly have more on my plate than I can handle. When I am feeling stressed, the first thing to go out the window is my current creative goal.
Mr. Smith has a full day of work at the day job(s), but still manages to write prodigiously in his creative work. The delightful conceit of all of this is that while he is writing each of these novels, he is also blogging about and writing the larger nonfiction book that details their creation.
Which of course sent me down memory lane. Back in 2011, Denise and I signed a contract to ghost-write the memoir of a man who was big in the world of pugilism. The manly art, as history so describes it.
Cut to February 2012. Both Denise and I had sent our manuscripts to our respective editors. Submission usually means that we have about a month to fritter away while the editors read the MS and write their editorial letters.
Great, I thought. Now we can finally put our heads together and write this damn fight book!
Not so fast. At the last minute, our agent poached Denise to ghost-write yet another memoir for a veteran Hollywood actress. The contract had been signed months ago, but the first writer bailed and left behind little copy that was usable. “I’m begging,” the agent said, and how often does that ever happen?
The money was good, and we knew what would happen.
Denise flew to Los Angeles the next day, planning to spend four weeks in the guest cottage behind the actress’s home and conduct daily interviews with her. I would write the fight manuscript, due in a month.
There are two things in the world I know nothing about: music and sports. But I am a Paganini and Gehrig in those domains compared to my knowledge of punching big men repeatedly in the face. Not to worry: Everything I needed was contained in 20 to 25 audio recordings, and my crappy handwritten notes. Or so I hoped.
Every day I stationed myself in front of the computer from 6 a.m. to 6 p.m. I took breaks and ate decently, but not as well as I probably should have. The problem with journalistic nonfiction is that you can barely write a paragraph or even a sentence without checking your facts. I sprinkled a ton of TKs in the text as I went, jotting down questions, and researching on the web during my breaks.
At night after I wolfed down dinner, I sat in the living room and listened to our audio recordings. Transcribing them faithfully would take far too much time, so I did the next best thing: I took short notes as I listened, marking the timestamps so I could go back and listen during my writing sessions if I needed to check facts or get the client’s exact phrasing correctly. I nearly wept when I discovered that one of those files was corrupted!
I do not regard what I’m telling you as something to brag about, by the way. Each time I have told this story, I always say that it was like waiting too long to research a college term paper and then trying to cram it all in one night. Not good.
The thing is, it worked! Averaging 5,700 words a day, I had 40,000 words by the end of the first week. I was frankly astonished that it could be done. I was sure that I’d made mistakes, misspelled the names of the client’s colleagues, or screwed up his family chronology. Nervously, I hit pause on the writing for two days to reread and proof everything. The client was ecstatic to get the first half of his book, and within a few days, responded to all my queries. Those answers added about 4,000 words to the manuscript before the end of the second week.
After I hit that 70K, I relaxed, for two reasons. One: I knew from past experience that clients always add more to a book when they read. And two, I also know that publishing contracts allow for a variance of 10 percent up or down. The contract asked for an 80,000-word book, but the editors would accept 72,000. The client could cough, and we’d hit 2,000 words more.
Still, that’s about 5,800 words a day for me.
The biggest pain point for me were those damn audio files. Call me crazy, folks, but since 2012, has technology changed significantly, or what?
But you know what’s funny? A dead, lifeless transcript could possibly have meant more work for me. The key to the project was reliving our conversations each night before bed. When the client got stubborn about sharing his vulnerabilities, I could hear one of us—usually Denise—pushing him, saying that if he wanted people to understand what he had gone through in his life, he had to be honest.
I heard his voice crack a few times, but he always came clean. And I swear, I felt that as I wrote it. To this day, the reviews he gets for that book online all reference the sensitive side of his character that so few people knew existed.
I will leave you with one last scene that made me laugh. On one of those nights in a casino in Vegas, Mr. Smith and his buddies encounter two very drunk girls who ask what they do for a living. He responds:
“I sit alone in a room and make shit up.”
* * *
Talk to you soon!
My writing partner, who contributes nothing to the word count
but still gets fed. Go figure.
In the second third of the book, he writes a book in seven days (a short novel of about 43,050 words), starting with a goal of hitting 3,000 words on Day 1, and adding 1,000 words each day after that. On the 7th day, he must hit 9,000 words. He “only” hits 7,000, but by then the story has neatly concluded.
In the last third of Waltese Falcon, Mr. Smith takes a vacation to hang with his poker buddies in Vegas, and manages to write yet another short novel (37,100 words) in five days. He doesn’t own a laptop, so he humorously seats-belts his giant iMac to the back seat of his Caddy, cushioning it with pillows, and barrels off to Sin City.
You might quibble with the lengths of the last two books, but he explains that he is a devotee of the great writers of the pulp fiction era, whose novels typically clocked in under 50,000 words. He argues that publishers in the modern era began contracting longer books from writers so they could charge more for them.
More significantly, he loves challenging himself to write at speed. He never plots anything in advance—not even the ghostwriting project—choosing to “write into the dark” each time. (During the writing of the ghostwriting project, he laments not knowing where this “stupid” book is going.) But each time he figures out the plot points and wraps each of these stories to his satisfaction.
He’s proud of the seven-day book because he had just turned 65 years old at the time, and was frankly wondering if he was too old to pull off an “add-1,000-words-each-day” challenge. He clearly wasn’t.
What made the biggest impression on me as a reader and writer is how much other work he accomplishes in his regular work days. He takes careful notes of all his activity, and shares his daily schedule with us. He usually wakes at noon, checks in at the offices of his publishing business—then located on the Oregon coast—and does all the things the head of a small firm usually does. Bank runs, dealing with movers, buying office furniture, keeping up with emails and bills. (I believe that during this period he may have also owned and operated other businesses in town, such as a collectibles shop.) So that work also consumes his time. And of course he’s hanging with his wife and pets, enjoying decent lunches and dinners with Rusch and friends, and watching a whole lot of television.
Usually he gets to his writing computer about 6 p.m. and writes in bursts of 50-minute sessions into the wee hours of the morning. He estimates that he required 42 such sessions to write the 43,000-word book. “In other words,” he quips, “I typed at the blazing speed of 20.5 words per minute.”
This impressed me because like everyone on the planet, I feel that I constantly have more on my plate than I can handle. When I am feeling stressed, the first thing to go out the window is my current creative goal.
 |
| Not my writing partner, but tasked with the job of decimating my spinach. |
Which of course sent me down memory lane. Back in 2011, Denise and I signed a contract to ghost-write the memoir of a man who was big in the world of pugilism. The manly art, as history so describes it.
At the time we signed, I was busy working on another ghostwriting project. Denise had finished the research and was drafting the book that would become The Girls of Atomic City. We did not have time to write the fight book just yet, but we did have time to schedule regular phone interviews with our client. This we did, once or twice a week, dutifully recording each call using the audio-record function that was a nice feature of old versions of MS Word.
Cut to February 2012. Both Denise and I had sent our manuscripts to our respective editors. Submission usually means that we have about a month to fritter away while the editors read the MS and write their editorial letters.
Great, I thought. Now we can finally put our heads together and write this damn fight book!
Not so fast. At the last minute, our agent poached Denise to ghost-write yet another memoir for a veteran Hollywood actress. The contract had been signed months ago, but the first writer bailed and left behind little copy that was usable. “I’m begging,” the agent said, and how often does that ever happen?
The money was good, and we knew what would happen.
Denise flew to Los Angeles the next day, planning to spend four weeks in the guest cottage behind the actress’s home and conduct daily interviews with her. I would write the fight manuscript, due in a month.
There are two things in the world I know nothing about: music and sports. But I am a Paganini and Gehrig in those domains compared to my knowledge of punching big men repeatedly in the face. Not to worry: Everything I needed was contained in 20 to 25 audio recordings, and my crappy handwritten notes. Or so I hoped.
Every day I stationed myself in front of the computer from 6 a.m. to 6 p.m. I took breaks and ate decently, but not as well as I probably should have. The problem with journalistic nonfiction is that you can barely write a paragraph or even a sentence without checking your facts. I sprinkled a ton of TKs in the text as I went, jotting down questions, and researching on the web during my breaks.
At night after I wolfed down dinner, I sat in the living room and listened to our audio recordings. Transcribing them faithfully would take far too much time, so I did the next best thing: I took short notes as I listened, marking the timestamps so I could go back and listen during my writing sessions if I needed to check facts or get the client’s exact phrasing correctly. I nearly wept when I discovered that one of those files was corrupted!
But I pushed on. Those nighttime sessions with the audio files usually took me close to midnight. I crashed into bed each night, and did it all over the next day.
Keeping track along the way.
I do not regard what I’m telling you as something to brag about, by the way. Each time I have told this story, I always say that it was like waiting too long to research a college term paper and then trying to cram it all in one night. Not good.
The thing is, it worked! Averaging 5,700 words a day, I had 40,000 words by the end of the first week. I was frankly astonished that it could be done. I was sure that I’d made mistakes, misspelled the names of the client’s colleagues, or screwed up his family chronology. Nervously, I hit pause on the writing for two days to reread and proof everything. The client was ecstatic to get the first half of his book, and within a few days, responded to all my queries. Those answers added about 4,000 words to the manuscript before the end of the second week.
By the time he was due to fly to Asia on the Thursday of the second week, he had a first draft as it stood, at 70,083 words. (I have no doubt that he told everyone on that flight—in a private jet?—that they really ought to keep the noise down because he was, ahem, busy Reading His Future Upcoming Bestselling Book. Fifty percent of the clients I get are like that.)
After I hit that 70K, I relaxed, for two reasons. One: I knew from past experience that clients always add more to a book when they read. And two, I also know that publishing contracts allow for a variance of 10 percent up or down. The contract asked for an 80,000-word book, but the editors would accept 72,000. The client could cough, and we’d hit 2,000 words more.
I really only had to write that first 70,000 to prime the pump. When the client read the manuscript, he was inspired to riff on topics that we had never touched upon. Before he was back in the states, he was firing off long emails expanding on anecdotes in the book.
When he got back, he overnighted a pencil edit with still more recollections. We easily met the deadline at the end of the month with 78,393 words. The biggest chunk, that 70,000, was largely written over a 14-day period of time, with one day and a morning off to proof.
Still, that’s about 5,800 words a day for me.
The biggest pain point for me were those damn audio files. Call me crazy, folks, but since 2012, has technology changed significantly, or what?
Today you can easily upload an audio file and have an instant transcript. At no time in my journalism career has that been possible until the last couple of years. You either laboriously transcribed audio yourself, or you paid someone else to do it. I could never afford hiring out. The rates were exorbitant because such services were aimed at the physician dictation market.
But you know what’s funny? A dead, lifeless transcript could possibly have meant more work for me. The key to the project was reliving our conversations each night before bed. When the client got stubborn about sharing his vulnerabilities, I could hear one of us—usually Denise—pushing him, saying that if he wanted people to understand what he had gone through in his life, he had to be honest.
I heard his voice crack a few times, but he always came clean. And I swear, I felt that as I wrote it. To this day, the reviews he gets for that book online all reference the sensitive side of his character that so few people knew existed.
That was my only experience with writing at speed. But the Waltese Falcon experiments got me thinking I should try something similar again. I’m 15,000 words into a nonfiction project that I’ve wanted to do for a long while. Currently, my average daily output is only about 3,000 words, but I’m not beating myself up. In summer, after all, I am apparently only a part-time writer yet a full-time farmer. But I want to get this done before I go on the road again for Denise’s book tour.
When the nonfiction speed test is over, I hope to try a fiction project. I’ll let you know how it goes.
I will leave you with one last scene that made me laugh. On one of those nights in a casino in Vegas, Mr. Smith and his buddies encounter two very drunk girls who ask what they do for a living. He responds:
“I sit alone in a room and make shit up.”
* Writing with the Waltese Falcon has since been revised slightly and re-released as three titles: Writing a Novel in 10 Days: 2026 Edition; Writing a Novel in 7 Days: 2026 Edition; Writing a Novel in Five Days 2026 While Traveling.
Two fun pieces of news:
* Since I saw you last, a country western star released a single entitled Girls of Atomic City, inspired by Denise’s book. Did not know this was happening until a friend sent us the press release.
* Denise’s book, Obstinate Daughters, is now a National Bestseller.
Talk to you soon!
Joe
