How to Become a Novelist: Lessons from Edan Lepucki

Becoming a published novelist is rarely the result of a single big break. It is usually a slow accumulation of small choices: what to study, where to work, who to learn from, and how to protect your time for writing. Drawing inspiration from the career path of contemporary novelist Edan Lepucki, this article breaks down how an aspiring writer can turn a lifelong love of reading into a sustainable profession.

From Reader to Writer: The First Sparks of a Career

For many novelists, the desire to write begins with a deep attachment to reading. That early love becomes the foundation on which everything else is built: education, practice, and eventually publication.

Common early experiences that point toward a writing life include:

• Spending hours with books as a child and feeling absorbed by fictional worlds.
• Journaling, keeping notebooks, or inventing stories for fun in adolescence.
• Receiving feedback from a teacher who notices your voice or storytelling skill.
• Choosing English or creative writing classes whenever possible in school.

These experiences do not guarantee a career, but they build confidence and curiosity. Many working writers can trace their path back to one or two mentors who first said, “You should keep doing this.” Research on gifted education and long-term achievement highlights the outsized impact of early encouragement and strong mentors on later professional success.

Education Choices: Do You Need an English Degree or an MFA?

There is no single required degree for becoming a novelist, but formal study can offer structure, time, and community. Edan Lepucki, for example, studied at Oberlin College and later completed an MFA at the University of Iowa Writers’ Workshop, one of the most prestigious graduate programs in creative writing in the United States.

Undergraduate Paths that Help Writers

Writers choose a variety of majors, yet some paths offer especially strong foundations:

• English / Literature: Deep reading, critical analysis, and exposure to a range of voices and styles.
• Creative Writing: Workshop experience, instructor feedback, and practice revising your own work.
• Humanities and Social Sciences (history, sociology, philosophy, etc.): Strong research and analytical skills, plus a broad understanding of human behavior and society.

Regardless of major, the most important habits in college for an aspiring novelist are:

• Reading widely and closely, beyond what is assigned.
• Writing frequently, not just for grades.
• Seeking out professors and peers who take your work seriously.

MFA in Creative Writing: What It Offers—and What It Doesn’t

Many contemporary American novelists hold an MFA from a creative writing program, though it is far from mandatory. Highly selective programs like the Iowa Writers’ Workshop provide:

• Dedicated time and space to write.
• Structured workshops where peers and faculty critique your work.
• Access to established authors as teachers and mentors.
• Credentials that can help with teaching jobs later.

However, an MFA is not a guarantee of publication or financial security. It is one part of a larger career puzzle, and it often comes with significant cost. Prospective students are generally advised to:

• Research funding and tuition remission options carefully.
• Review faculty and alumni publications to gauge program quality.
• Clarify personal goals: Do you want time to write, teaching experience, or academic credentials?

The Power of Mentors, Peers, and Literary Communities

Almost every established author can point to a handful of people who made their career feel possible. In Lepucki’s case, a college mentor encouraged her to submit stories to literary magazines and apply to graduate programs, concrete steps that turned a dream into a plan.

Strong writing communities often emerge from:

• University workshops and graduate programs.
• Independent writing classes and local workshop centers.
• Bookstore events, reading series, and literary festivals.
• Online critique groups and virtual workshops.

These connections matter over time. Many writers continue to exchange drafts with early peers decades into their careers, long after the formal program ends. Studies on creative work show that durable peer networks and supportive collaboration significantly increase both productivity and persistence in fields like writing and the arts.

Choosing Day Jobs that Support (Rather Than Crush) Your Writing

Few writers move directly from school to full-time fiction. Instead, they work other jobs while building a body of work. Lepucki, for example, worked at an independent bookstore before and after college, finding a low-paying but creatively rich environment surrounded by readers and writers.

Characteristics of a Writing-Friendly Day Job

When possible, writers often look for roles that:

• Stay close to books and ideas (bookstores, libraries, publishing, teaching, arts organizations).
• Provide predictable schedules that leave mental space for writing.
• Offer part-time or flexible hours, even if the pay is modest.
• Expose them to creative peers who understand and support their goals.

Working in a literary or academic environment is not required, but it can make it easier to keep writing central, rather than something squeezed into the margins of an unrelated high-stress job.

Publishing in Small Steps: Literary Magazines, Novellas, and Online Essays

The road to a widely read novel is often paved with smaller publications. Lepucki published short stories in literary journals before releasing a novella and, later, full-length novels that reached bestseller lists.

Why Small Publications Matter

Early publications serve several purposes:

• Validation: External editors taking your work seriously can build confidence.
• Learning: Editorial feedback and seeing your work in print sharpen your craft.
• Visibility: Agents, publishers, and readers often discover writers through journals and online magazines.
• Momentum: A track record of publication makes larger projects feel more attainable.

Shorter work can appear in:

• Literary magazines (print and online).
• General-interest outlets that publish essays or short fiction.
• Anthologies and themed collections.
• Personal newsletters or blogs that slowly attract a following.

As Lepucki’s career illustrates, these early and mid-size venues often precede opportunities to publish books with major presses.

Teaching as a Parallel Career: Sharing Craft While You Write

Many working novelists supplement their income and professional identity through teaching. Lepucki has taught in university extension programs, founded a private writing school in Los Angeles, and later joined the faculty at Caltech to teach undergraduate creative writing.

Forms of Teaching for Writers

• University and college courses: Often require an MFA and a strong publication record.
• Extension and continuing education programs: Part-time teaching for adult learners.
• Private workshops and online classes: Independent courses offered through personal sites or platforms.
• Guest lectures and residencies: Short-term teaching at schools, arts centers, or writing retreats.

Teaching can reinforce a writer’s own practice by forcing them to articulate how fiction works on the page—plot, character, voice, and structure. It also provides financial stability in a field where advances and royalties are unpredictable.

Crafting a Long-Term Vision: Thinking Beyond a First Book

High-profile moments—like a novel landing on a bestseller list—can change a writer’s visibility quickly. Lepucki’s debut novel, California, became a New York Times bestseller and was widely discussed after being championed on national television. Yet even dramatic success is only one chapter in a much longer career.

Writers who sustain a decades-long practice tend to:

• See each book as part of a body of work, not as a definitive endpoint.
• Continue publishing in multiple forms (novels, essays, edited collections, newsletters).
• Experiment with genres and topics rather than repeating a single formula.
• Balance paid opportunities with projects that feel artistically necessary.

Lepucki’s career now includes multiple novels, a novella, editorial work on anthologies, essays in major magazines, and recurring teaching roles. This mix shows how a writer can build a resilient career by diversifying both creative output and income sources.

Daily Practice: Protecting Time, Energy, and Focus

Behind any public achievements lies the quiet reality of regular, often unglamorous work. While specifics vary from person to person, working novelists typically build routines around:

• Dedicated writing windows: Early mornings, late nights, or carved-out blocks in the middle of the day.
• Word or time goals: For example, writing for 60–90 minutes or aiming for a certain word count.
• Separating drafting from revising: Allowing messy first drafts before applying critical judgment.
• Managing distractions: Turning off notifications, writing offline, or leaving the house to work in a quiet space.

Many writers also make deliberate trade-offs in other parts of life—working fewer hours at a day job when possible, relying on childcare, or renting an office—so they can protect their writing time. These choices reflect a core belief that writing is not a hobby squeezed into leftover minutes, but a central part of a professional identity.

Emotional Resilience: Rejection, Uncertainty, and Redefining Success

Submission and rejection cycles are baked into a writing career. It is not unusual for a story or book to be turned down many times before acceptance; Lepucki, for instance, spent years sending work to magazines before a story was finally published.

Strategies many writers use to endure the emotional ups and downs include:

• Separating self-worth from external outcomes: Viewing rejection as part of the work, not a verdict on talent.
• Maintaining multiple projects: If one story is out on submission, another is being drafted.
• Leaning on writing communities: Peers who share both disappointments and breakthroughs.
• Reframing goals: Focusing on pages written or skills improved, not just sales or reviews.

Psychological research on creative professionals underscores that persistence, adaptability, and social support strongly influence who continues making art over many years, beyond initial training or talent.

Practical Steps to Start Your Own Writing Career

If you are inspired by the path of working novelists like Lepucki, you can begin shaping your own route with grounded, incremental steps.

Immediate Actions (Next 3–6 Months)

• Set a regular weekly writing schedule and treat it like an appointment.
• Complete one short story, essay, or sample chapter and revise it thoroughly.
• Share your work with a trusted reader or join a small critique group.
• Attend one local or online literary event—such as a reading or craft talk.

Mid-Range Actions (6–24 Months)

• Submit your best work to carefully chosen literary magazines or contests.
• Consider a structured class—local workshops, online courses, or an extension program.
• Research MFA programs only if they align with your financial and creative goals.
• Experiment with different forms: fiction, nonfiction, flash pieces, or a novella.

Long-Term Vision (2–10 Years)

• Develop a full-length manuscript—novel or essay collection—at your own pace.
• Build a modest but consistent publication record in reputable outlets.
• Explore teaching, editing, or related literary work as complementary roles.
• Define success on your own terms: a body of work you are proud of, not just a single moment of recognition.

Frequently Asked Questions About Becoming a Novelist

Q: Do I have to attend a famous MFA program to publish a novel?

No. Many published novelists do not hold MFAs, and others attend less famous but well-run programs. Prestigious MFAs can offer time, community, and teaching credentials, but agents and editors ultimately care most about the quality of the manuscript, not the degree listed in your bio.

Q: What kind of day job is best for an aspiring writer?

The “best” job is one that covers your basic needs while leaving you with the mental and emotional energy to write. For some, that means working in bookstores, libraries, or teaching; for others, it is a stable role with clear boundaries in a different field. Low-stress, predictable hours usually matter more than industry prestige.

Q: How long does it usually take to build a writing career?

Often, it takes years or even a decade of steady work. Lepucki, for example, began publishing shorter pieces years before her first bestselling novel appeared. Progress is rarely linear; writers move between drafting, revising, teaching, and publishing in overlapping cycles.

Q: Is teaching creative writing a realistic goal?

Teaching is a common part of many writers’ careers, from community workshops to university courses. However, full-time academic jobs are highly competitive, and most teaching roles are part-time or temporary. Building a writing life that combines teaching with other income sources and ongoing creative work is generally more realistic than relying solely on a single tenure-track position.

Q: What should I focus on first if I feel overwhelmed?

Begin with what you can control today: a small, reliable writing practice. Choose a manageable schedule—perhaps 30–45 minutes three times a week—and protect it. Over time, those sessions add up to finished stories, which can then be revised, shared, and eventually sent to publishers.

Written by

Medha Deb

Medha Deb is an editor with a master's degree in Applied Linguistics from the University of Hyderabad. She believes that her qualification has helped her develop a deep understanding of language and its application in various contexts. Medha specializes in the areas of beauty, health, sports, and wellness and is committed to ensuring that the content on the website is…