The challenge is to grab what you can till the moment passes. There are times when I can feel the pose and see the angles clearly; where my focus isn’t too tight and my field of vision is such that the connections and relationships of major structural parts and key details are apparent. Then, a relaxed but progressive pace that doesn’t overwork nor overthink the draughtinging and makes use of at least a few tools so that broad areas are developed quickly and details have clarity. The emphasis is on efficiency and fluidity rather than speed.
In the above drawings you can see several tools at work on different paper. Both papers have sufficient sizing so the ink stays moist long enough to be wiped or smeared or dabbed brining the finger into play and adding finger prints and a hazed or brushed look. With a broad brush nib, strips are done in one stroke passing the need of predawn outlines. A range of tones, even if it is only a couple, help distinguish separate elements making features pop and giving the lighting more character.
 
I like to work in ink which once it sets up, prevents further smudging, has tonal strength, forces my hand to limit over drawing contours, and can have cool and warm hues to aid in distinguishing different elements, i.e. a scarf from a shirt, and holds the same edge not requiring constant sharpening.