One of the keys to professional writing is to crank out a lot of good work. And to do that, you’ll need to put in a good deal of time.

The best way to guarantee that you’ll have the time available to accomplish a lot of good work is to develop and follow a daily schedule.

There are several elements involved in creating and adhering to a daily schedule. Let’s look at each of them in turn.

Identify Your Best and Worst Times of Day

In the late 19^th century and early 20^th century, there was an ancient idea revived and developed by Wilhelm Fliess that proposed a person’s physical and emotional states fluctuated around 23- and 28-day cycles, respectively, starting on the day you were born. Later, a psychologist named Hermann Swoboda and an engineer named Alfred Teltscher expanded on this idea to include a 33-day cycle of intellectual or mental capabilities.

These biorhythms were thought by many to be so important and powerful that anyone should be able to predict days when a person would be particularly strong, happy, or smart and other days when a person would feel weak, down hearted, or befuddled simply by counting the number of days since birth and calculating where that person would be on the cycle of their relevant biorhythm.

There may be some truth to this notion, but that’s not the main point here. What’s undisputed is that you almost certainly do have periods of time when you can perform at a higher level and other times where the best you can do is not quite as good as that.

This is the main point: you can and should take advantage of your natural ups and downs by tracking them, noting on your calendar, for example, the times when you feel your best and the times when you feel your worst. Once you see the pattern, you can begin trying to use your periods of higher performance to do your best writing.

Whether biorhythms work or not for you, the cyclical nature of high and low performance often breaks down to something as simple as:

• Being a morning person or an evening person
• Feeling better writing in bed before you go to sleep or in the afternoon after taking a nap
• Waking up early and getting in some solid hours of creativity or staying up late to record whatever wonderful thoughts you have been accumulating during the day.

Identify Your Most Productive Patterns

Another aspect of this timing technique involves recognizing and exploiting the length of time at a stretch you prefer to work. I have found that I do better working three, four, even five hours at one sitting—the longer I go, the better my writing becomes. Other writers I know like to dash off a few paragraphs as soon as they come to mind, then do something more routine until another flash of inspiration hits them.

There’s no right or wrong here, no absolute better or worse. All I’m suggesting is that you discover the times of day, and days of the week, when you are at your best and do at least some of your writing during those periods.

Break Down a Project into Separate, Simple Tasks

Once you know the best times to work on your writing, take the next step and figure out what you ought to be working on.

One of the best ways to do this is to have a plan for what you’re going to write, whether it’s a novel, a play, a poem, or anything else. At a minimum, it’ll have a beginning, a middle, and an end. It might have five acts. You might envision 20 or 30 scenes, seven key images, or 10 important moments.

No matter how you have conceived the project at hand, if you know each of the parts you want to include in it, you can have the next part in mind as you sit down to work, and even before.

Knowing what comes next is helpful because not only it eliminates the blank-page problem that so many writers dislike, but also it allows your subconscious mind to be working on the project during the interval between your last writing session and your next one.

Develop a Productive Working Routine

One way that has helped me be a productive writer over the years is to reserve certain times for writing, and nothing else. During my self-scheduled writing hours, I don’t allow myself to straighten my desk, sharpen pencils, answer the telephone, read, doodle, or anything else. I’m there to write. If I feel stuck or can’t muster the energy to work, my only alternative is to sit idly until I can start working on my project.

I have found that sitting idly during these intended writing times is so unpleasant and boring that I quickly start my writing engine and begin putting words on paper.

Another trick that many writers use is to stop writing in the middle of a passage that’s coming easily and feeling great. The idea is that later, when you come back to the project, you’ll find it relatively easy to pick up where you left off and start producing good material right away. The corresponding fear is that if you finish that great passage and then stop writing, when you come back to the project later on you’ll face a difficult time getting started again.

Either of these ideas may or may not be true for you, but there’s no doubt that if you regularly sit down to write during your high-performance periods, you’ll produce better work than if you work at random times or—worse—when your performance level is on the downswing.

Follow Your Schedule

Any or all of this may seem great, but I can assure you that it’s helpful only to the extent you actually put it into practice.

If you don’t have enough self-discipline to follow your self-imposed schedule, understand that becoming a professional writer requires more of it.

Stay Flexible

Having said all this, I want you to remember that creativity should never be a chore, never a drag on your time or energy, never a task to get through so you can do something else that’s more fun. Creativity should be your most enjoyable activity.

That’s why it’s important that your working schedule—no matter how carefully laid out and how many great techniques and ideas it incorporates—should be more of a guideline than an implacable routine.

Robert Moskowitz is an award-winning independent professional writer who has written and sold millions of words in just about every format over five decades. He instinctively sees the big pictures, breaks each one down into coherent slices, meaningfully prioritizes and sequences those slices, and then executes the tasks inherent in each slice in very productive ways. Put more simply, Robert knows how to succeed as an independent writer, covering all the bases from soliciting assignments to delivering polished work, from pricing jobs to budgeting and managing personal finances, from organizing a conducive office environment to establishing and following sensible guidelines regarding life, work, and productivity. Having done all this, and having paid attention to how he did it, Robert is now in a position to pass along what he knows to others.

One of the most difficult questions you’ll ever be asked about your work is: “What’s it worth?”

Unless you were born with a silver spoon in your mouth, the road to becoming a professional writer involves navigating the intricacies and trade-offs of this difficult question and coming up with answers that lead to advancement toward that goal, rather than retreat.

The intricacies of that difficult question involve issues that are practical, economic, competitive, and emotional. Let’s take a look at each of those issues:

Practical Issues

The first set of issues you encounter when setting prices for your work involves practical matters:

How much money do you have on hand?

How much do you spend each month or each year?

How much money is coming in?

The bottom line of all this is simple: How long can you stay in the writing game before you run out of money and must quit writing to put that time and energy toward other means of earning a living?

Pricing is one way to directly change that bottom-line result. If you can adjust your pricing to increase the amount of money coming in, you can stretch out the time remaining in your career as a professional writer. If you can increase the amount of money coming in substantially enough, you can keep writing professionally for the rest of your life.

Most times, to increase your writing income you’ll need to raise your prices. But this calculation can lead you to lower your prices, too. The point is to maximize the income you generate from the combination of two factors: the amount of work you sell and the price you earn from each sale.

For example, suppose you’re now selling ten pieces of writing per month at $100 per piece. That’s $1,000 income per month. If raising your price will not lose too many sales, you might be able to sell eight pieces at month $150 per piece. That would earn you $1,200 per month total income.

On the other hand, if lowering your price will result in extra sales, you might be able to sell 15 pieces per month at $90 per piece. That would bring you $1,350 per month.

A great many factors go into determining the most lucrative price point for each item you sell. Sometimes, you won’t know the best price point until you experiment. But the basic fact is that changing your prices is the first, and often most practical, way to increase your income as a professional writer.

Economic Issues

If you lived in a vacuum, or in a static world, you could raise and lower your prices however you wish and expect to receive a mathematically calculated result. But you live in an economy that has its own ups and downs independent of you and your wishes.

That’s one reason professional writing can often be a case of “feast or famine.” During good economic times, you might sell all the work you can produce at prices you enjoy. During bad economic times, you might struggle to sell any of your work and have no choice but to accept prices you wish were higher.

Your pricing decisions should, therefore, recognize and take into account the current economic climate in which you are operating. You should be alert not only to current economic conditions, but also to upcoming changes in the economic climate. Looking ahead, you can strive to position yourself—by means of pricing changes (and perhaps other ways, as well)—to take maximum advantage of the economic hand you will soon be dealt.

Competitive Issues

Just as you live in an economic climate, you also live in a competitive climate. If you’re the only one capable of writing a particular piece of work—say a Katy Perry song or a best-seller on White House intrigue—you can pretty much write your own ticket as far as income from that work is concerned.

However, if you are cranking out the same kind of boiler plate that’s available from ten thousand other writers, it’s hard to price your work outside of the competitive range the market has established for such work.

This has two implications for professional writers:

Don’t expect to earn more from highly competitive work than the vast majority of your competitors are earning. Your prices and to some extent your income will be tightly constrained by the market.

There are major advantages to stepping out of the competitive rat race and into some niche where competition is relatively scarce and where your natural talents help you become a leader—or even a “one of a kind.” There are lots of genres and markets out there. Which one fits you better and offers you a greater chance to earn the living you want as a professional writer?

Emotional Issues

So far, we’ve covered three practical, objective, external issues that tend to influence how much you can earn from your work. But the most important issues are internal:

If you don’t feel worthy of big bucks for your work, you won’t ask for them. And if the market nevertheless insists on offering you those big bucks, psychology tells us you’ll find ways to screw up, or even to lose hold of those big bucks very quickly after they are forced on you.

If you don’t work at improving your pricing, you’ll set your prices at less than optimum levels. The result: you’ll leave money on the table, money that could have been yours.

If you don’t build up the psychological strength to withstand the inevitable stresses, losses, and—yes—even failures you will experience not only on the road to becoming a professional writer, but more generally in life, you will burn out, quit, or otherwise settle for less. Without sufficient inner resilience, you’ll be far less likely to last long enough to accomplish any of your most important goals.

The road to becoming a professional writer is much easier to travel when you realize that however large and unyielding the external barriers to success may seem, the barriers that are most difficult to surmount are the internal ones.

Having said all this, I recognize and understand that you may not make the same choices on pricing as I make. But I still challenge you to price your work as close as you can to its full value. It’s a difficult challenge to meet, and a continuing one. Yet optimum pricing is a central aspect of becoming a professional writer, and also a key element in earning a good living from your skills and your craft.

Robert Moskowitz is an award-winning independent professional writer who has written and sold millions of words in just about every format over five decades. He instinctively sees the big pictures, breaks each one down into coherent slices, meaningfully prioritizes and sequences those slices, and then executes the tasks inherent in each slice in very productive ways. Put more simply, Robert knows how to succeed as an independent writer, covering all the bases from soliciting assignments to delivering polished work, from pricing jobs to budgeting and managing personal finances, from organizing a conducive office environment to establishing and following sensible guidelines regarding life, work, and productivity. Having done all this, and having paid attention to how he did it, Robert is now in a position to pass along what he knows to others.