If you’ve ever shopped for an editor, you’ve probably seen service pages promising a turnaround time of 8–12 weeks… or even 12–16 weeks.

If you’re thinking, “But it doesn’t take that long to edit a novel,” you’re right. Even a 100,000-word manuscript can be read, annotated, and reviewed in far less time than that. So what’s going on?

The truth is, those weeks rarely reflect the actual time spent working on your book. Instead, they reflect how your project fits into the editor’s overall schedule, workload, and business model.

Here are the most common reasons those timelines can stretch so far, plus the questions you should be asking before you book.

(And if you’re in need of an edit, I offer a variety of editorial services, from first draft support to proofreading.)

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1. Editing Pace and Type of Service

Not all edits are created equal. A manuscript evaluation or alpha/beta read is often faster to complete than a developmental edit, line edit, copyedit, or proofread. Each service requires a different level of depth and focus, and the more detailed the edit, the longer it generally takes.

Some editors work in one pass through your manuscript, while others do two passes—for example, a first read-through to mark issues and a second to refine notes or check changes. A two-pass approach can take significantly longer, but often results in a more thorough review.

It’s also important to remember that these editing stages are separate services. If you book a developmental edit, your editor isn’t also doing a copyedit or proofread during that same booking window. Those stages happen later—sometimes with different editors entirely, depending on what the editor offers.

While the type of service you choose does affect how long the actual work takes once it’s started, the overall turnaround is often determined more by where your project sits in the editor’s queue.

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2. They’re Not Working on Your Book the Whole Time

When you book an editor, you might imagine they immediately open your manuscript, roll up their sleeves, and dive in. In reality, many editors operate like a queue at a coffee shop: your order goes in, but there are several people ahead of you.

If you’re quoted “8–12 weeks,” the edit itself might only take 2–3 weeks—the rest of that time is simply waiting your turn.

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3. They’re Juggling Multiple Projects at Once

Many editors work on several manuscripts at the same time, switching between them to keep their focus fresh. This can be helpful for staying objective—but there’s a big risk if too many are in progress: confusing story details between clients.

I’ve personally experienced this as an author. I’ve received feedback about characters and events that didn’t exist in my book because the editor had mixed it up with someone else’s. Not only is that frustrating, but it can undermine trust in the entire edit.

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4. They Keep a Large “Intake Pile”

Some editors accept every booking immediately, regardless of their current workload. Your manuscript might arrive, get opened once to check for word count (or not at all), and then sit for weeks before they return to it.

Keeping one or two projects “on deck” makes sense—it allows for flexibility if one needs a break—but when that pile grows to five, ten, or more, it’s no longer about variety. It’s about overbooking.

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5. “Book Now, Work Later” Tactics

Here’s a behind-the-scenes reality: sometimes long turnaround windows are a sales strategy.

Today is August 9th. Imagine an editor is fully booked until October, 2 months away. If they say, “I can’t start until October,” you might look elsewhere. But if they say, “Send your manuscript now, and I’ll return it in 8–12 weeks,” it sounds more appealing, even though the actual start date might still be October.

This avoids turning away clients but often means your manuscript spends most of that time untouched.

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6. They’re Building in a Big Buffer

Some editors set long timelines to cushion against unexpected delays:

• Illness
• Family emergencies
• Extended vacations
• Revisions taking longer than expected
• Projects that turn out to be more complex than estimated

While understandable, these extended buffers often reflect a worst-case scenario, not the average experience.

There is the risk, however, that it doesn’t include buffer time. I had an editor (for a manuscript evaluation) give me a huge estimate, my manuscript was sent to her and sat there for weeks and weeks. She kept pushing back the date further and further and further (often after I would ask when I would receive the edit as the due date would come and go). At one point she claimed she got called in for jury duty and was behind on all her edits (I only got this information after sending a few emails asking if my edit was done since it was a few weeks after the due date). To this day, I have never gotten the edit I paid for. Unfortunately, some bad editors exist out there (and she had Big 5 publisher experience, which made it even more heartbreaking).

As an editor, I like to build in a little buffer time to account for potential delays and my own writing, too. I’m also prone to migraines, so I like to pad in a little extra time, just in case. It’s also important to find an editor who will communicate any potential delays with you as soon as possible. I know how awful it is to be in the dark about your manuscript (or anything you’re paying for!).

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7. They’re Part-Time or Balancing Other Commitments

Not every editor works full-time. Some balance editing with day jobs, freelance writing, parenting, or other creative work. This can mean evenings-and-weekends progress and a slower pace—especially if your manuscript is competing for time with multiple priorities.

As a full-time author, my books are my main priority. I schedule editorial work around them. I try to be transparent as possible about when work is likely to start on a client’s manuscript, when it may be slow (if I have a week of edits for my own book, for example), and when it should be finished.

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Why This Matters for You as an Author

When you hire an editor, you’re not just paying for their skills—you’re also buying a place on their schedule.

If your book is in a 12-week queue, that’s three months you could have spent revising based on alpha/beta reader feedback or past editors’ advice. While some authors like to disconnect from their manuscript for weeks, others feel like it is a waste of time.

This isn’t about impatience—long delays can stall your momentum, disrupt your launch timeline, and affect your marketing plans.

That’s why you should always ask:

• When will you actually start working on my manuscript?
• Once you start, how long will the edit itself take?
• Can I send my manuscript closer to the start date?
• How many manuscripts do you work on at once?

If you’re concerned about juggling, say so. It’s perfectly reasonable to want your manuscript to have your editor’s full focus. And with how costly edits can be, you don’t want the editor prioritizing quantity over quality.

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My Take as an Editor

I believe in transparency. If I tell you a start date and that the project will take four weeks, that’s the time I’ll actually be working on it—not the time it will sit in my inbox.

I also limit how many manuscripts I handle at once. Most of the time, I work on one project from start to finish. Occasionally, I’ll work on a second—but only if the author chooses to send their manuscript early and I want a break from one manuscript. I give all clients this option because if I can start ahead of schedule, I will. (This happens quite often when I finish a manuscript early because I can start on the next one right away, no wasted time.) My only exception is my First Draft, First Reader service, where I read chapter-by-chapter as the author writes.

I aim to start on the agreed start date, though it might shift by a few days if I’m finishing another project or wrapping up work on my own books. Even then, once I begin, your manuscript gets my focus—no risky juggling of five manuscripts or month-long delays before I touch it.

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My Take as an Author

As an author, I’ve been on the other side of this. I know how it feels to be excited about moving forward, only to realize my manuscript is sitting in limbo for weeks—or months. That excitement fades, and momentum slows.

I’ve also seen firsthand how juggling too many manuscripts can lead to story mix-ups in the feedback. It’s jarring to read comments about scenes or characters that never existed in your book.

That’s why I now always ask for a real start date and clarity about workload if an editor quotes me a long range. If an editor won’t start for six weeks, I’d rather keep my manuscript and use that time for polishing than have it sit untouched.

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Questions to Ask Before You Book an Editor

1. When will you actually start working on my manuscript?
2. Once you start, how long will the edit itself take?
3. Can I send my manuscript closer to the start date?
4. How many manuscripts do you work on at the same time?
5. What’s your process for keeping projects organized and avoiding mix-ups?
6. Do you ever work ahead if a manuscript comes in early?
7. How do you handle scheduling conflicts or unexpected delays?

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Final Thoughts: Respecting Your Time and Your Story

Long editorial timelines aren’t always a sign of poor service; sometimes they’re just the reality of an editor’s schedule, workload, or chosen editing process. But as an author, you have every right to know why you’re being quoted a certain turnaround and exactly when your book will get real attention.

The best editor for you will be upfront about their availability, transparent about when they’ll start, and realistic about how long the work will take. They won’t let your manuscript gather digital dust for weeks on end without a clear reason, and they’ll respect your time as much as your words.

Whether you’re booking your first edit or your fifth, asking the right questions now can save you weeks (or even months) later. You deserve an editor who treats your project like the priority it is—because for you, it’s not just another book in a pile. It’s your book.

If you’re interested in booking an editorial service, I offer a range of nine services which you can view here. (You can also contact me if you have questions or to book an editorial slot.)