I always had this dillema regarding pacing. The plot as a whole is the collaboration of two character to undertake a whimsical project. That is the backbone. Naturally, things happen here and there to deepen the characters as well as present their worlds and surroundings. My current manuscript is at page 55. My doubt starts with chapter 2 and runs to chapter 3. Chapter 1 consists of a slight exposition (intentionally slight) and a little boost to the plot. Chapter 2 jumpstarts the plot with a meeting. Chapter 3 completes the meeting as well as the conciliation of the characters, they WANT to collaborate. Now, the plot encompasses a time period of 2 months at least. The faster parts come straight after chapter 3 and slow down toward the climax. My problem is the fact the first 50 pages encompass a time period of two days. Sure, I deem the detail of those two days essential, they present the two characters on their basic level, they prompt the actual plot, they portray the visual setting, they even bring one character to some sort of a closure required for them to carry on. Many things that are a one-time presentation are in the first 50 pages, but again - two days. It feels odd. I feel better with chapter three because it still multi-variate in terms of actual happenings. The second chapter is literally just a small mishap followed by a meeting, which by itself is fine, but I wonder about it when it takes 26 pages to convey. Why 26? Mainly due to the tone. I really don't support the type of narrative that passively advances the plot: "X" he said, "Y" she answered. They did Z and when H was B that and that happened. I prefer a more involved narrative or to be more specific a narrator. I intentionally write with a talkative narrative. Not every sentence advances the plot. It is essential the massage of the story to have a preachy narrator (not overdoing it hopefully). It is essential to the tone of the story. I cannot see myself writing this particular story any other way. So I wonder, is it okay to ramble if it is concrete and not too much tell, not show? I need feedback. Here is an example, this is the first page of the second chapter: Whether naturally or for ironic purposes, tomorrow always comes, and daylight a woodpecker at the window; someone had forgotten yet again to close the curtains and shoo away the day. So the kindly burglar sun slipped its hand into the living room, where he was sleeping on a couch, and all about it spread. There was a room under a fine filter of dawn. Its inhabitant? Typically would not get so much as a grunt or a bed-turn from him, except, today unlike any other day, it was the heavy hand of symbolism itself who came intruding to greet awake a dormant boy and one horrible sleeping habit. The light figured an angle on his living corpse. He turned to face the other way. There as well shone bright the light of day no less unnervingly. He turned the other way - not only one but many other ways because their presence, he had found, was every which way. Now and then turning away, here again light finds a way; and never giving up - as if "Wake up!" the boy was called. And so it played awhile. Surrounding the nuisance was a living room - his chamber, the items he had brought along almost ever not of use; his phone at all time waiting on the cupboard, there to gather dust – much like him, for he has nothing to account which worth a moment of your time to tell. Light is a most elusive thing, its benignity beyond appreciation. Brave hearts through the dark it may beacon, an incurable sickness it may heal; it can even save you from oversleeping that very important meeting, or prevent never making it to the one you would not have anticipated coming. And did you know that light, when is faced towards upon in a perfect certain angle, may call up a sneeze? "A…a..." To fall off the couch with a racket and a thud was no easy business. "Ouch…"