I think the question regarding average beat/frozen-moments-of-time pacing anticipates my next column, where we explore exactly HOW the use of these moments (and the reading time on balloons) affects the pacing of the panel, page, story, and/or book.
I hadn't quantified the ratio aspect as you have, but am happy to build on that when we get to the topic.
But I will answer your question about averages now, just so nobody travels down that creatively ravaged road:
There are no averages.
My examples used five (or seven) moments, then three.
I wrote a story for the DW anthology that, after the opening page, is told entirely in pantomime...until the last page, where it's filled with balloons, narration, and a visual approach that differs significantly from what came before, turning from children's story to crime story.
If I had paid the slightest attention to average pacing, I never would have developed a pacing that was unique to this story, and worked best to carry out my intent.
Alan Moore is a master at controlling how long we consider material.
Another bump in the pacing road will include how long it takes for us to consider visual information.
I read Shaun Tan's "The Arrival," a brilliant book without a readable word in it, and I had to consider every drawn element in relation to ones that proceeded and followed in order to get the point.
A pal raced through it and couldn't even understand it. After I told him what the book was about, and why it was brilliant, he went back and liked it...because he absorbed it more slowly...or better.
More next week on this topic, but thanks for helping to get the ball rolling.
--Lee, who doesn't think Steven's an asshole