Nighttime blabbering 656

While working on the novel, I passed one-third of the material and came to the second part where I’ve found a huge problem within the story. Apparently, the other two halves are seriously problematic and weak. The beginning and the story that unravels follow a flow and the new characters I implemented stand strong. Everything that happens, has a good reason, so the weapon heist shines out the most. Two big battles placed back to back, don’t have clear motives, and there is a solid motive, but it just doesn’t come out the way I wanted it to. Those two halves orbit the plot of treason, referenced with one event from the beginning of the story, but it still looks like an artificially created plotline, not so natural and logical turn of events. And then, this is the crucial problem because the next portion of the novel, again, counts on magnifying the gang numbers, sparking clashes with the rival gangs, which can be a good story, but there’s no clear reason to trust the newcomers. Having two treasonous events that leave a message for the small gang, counters the third attempt to create a bigger gang, just to stand out the incoming attacks of other gangs. I know there’s a good segment I can exploit to make the story good, but I am completely overwhelmed with the number of other events in the novel. So many things are happening, and it looks like I’ll have to delete, and rewrite parts from the start, only to achieve the effect of organized chaos. It’s an apocalypse novel, where these things are expected.

Speaking about the battle scenes, the two I mentioned take up the complete last third, and I made a mistake with them. I took a city block, laid a grid 6 by 6 frames, gave them markings, and conducted a firefight in that space. The explanation of how forces move in such a grid is saying a character A moved from 1A to 2B and proceeded to decline diagonally toward the 6F while sending rounds at the enemy tank. Let me say this. The whole that thing… doesn’t bring any image of what’s really happening. The second battle led in another part of town takes place on the streets, communication in the form of a letter P, with the curves and angles marked with attached terms of The Crash Site, The Barricade, The Turn, etc. Having the main character run from point A to point B, doesn’t translate well into the reader’s mind. Nobody can tell what’s really happening, even if I have a clear idea and understand what’s going on. The chances are, I am going to be the only one who can imagine the battle, but again, not able to see it.

The plan is to focus everything on the main guy’s viewpoint and bring the battle to him. His movements tell the story, not the other way around. I wanted to bring all of my talents and show things happening out of the guy’s horizon, but now I understand it won’t work. It’s just too complex and confusing to follow. Now, I am just redoing the scenes, and looking for any opportunity to turn the tides, bring more compelling plotlines within the main flow, and just let them form a confluence leading toward the main battle.

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