Exactly what jnanian said: somewhere between 1500 prints a day (really, I did that in a commercial setting one summer, one neg = one 8x10 at a time) and none. When it was none, it wasn't because I couldn't make a good print the first time most times--it was because I couldn't decide what I wanted the good print to look like. In a normal situation, though, clicking through familiar territory like portraits or weddings or commercial shots, then 200 prints in a half-day session is not all that difficult. I'm talking B&W in trays, not machine work.
If you are looking for a strategy, getting a good competent print should not be an issue. The first studio I worked in, in high school, the boss stressed making every print look like every other. That requires control of the whole process--no loose cannons. Once you have that, it just becomes decision making. Just like how driving shouldn't be difficult; you just get in and do it. For me, that meant standardizing my exposure process based on a trick I learned from the first studio's owner: you can easily judge print darkness of a positive under a controlled light, right? No problem. Equally, you can, with practice, judge projection density of a negative on a white printing easel in the dark with a standard safelight running for comparison and calibration. Don't say you can't because you can. I learned to make hundreds of perfect prints in a row with no misses by learning what the projected neg should look like on the easel to result in a perfect positive in the light. I kept my timer at five seconds, and completely worked the exposure with the aperture, until the image on the easel looked correct. If you genuinely try to learn this, you will be surprised. You need to be a quick burner and dodger, but that's a separate problem.
Once you get basic exposure out of the way, then you can worry about the real problems.
