Inspiration... and how much prodding it needs

It's incredible how often this keeps happening. I was wading through quagmire last week (figuratively) but eventually got to a point where my protagonists were through a particular geographical hazard. I then came to the part about describing what the landscape looked like on the other side and I realised I just couldn't articulate it. I went so far as to consider physically making the landscape in some kind of 3D world creator, or Minecraft or AutoCAD, or whatever, just so I could look at it and describe it that way.

It was at that point that I realised that this feature (a deep ravine close to a coast line) just DID not work, particularly the very conveniently located trees at the tops of it that had been coaxed into forming natural bridges (by whoever, whenever, for whatever reason). It just didn't fit even on a geographical level.

So, on Sunday I ditched it completely, as well as the perilous crossing that actually ends up getting experienced by 3 separate groups of characters. In its place, I just had a far more simple event taking place at a far more plausible location that still ended up allowing all the various groups to end up at A, B & C where they were supposed to, whilst still maintaining the thrills and drama of the ravine event.

I guess, the only reason I am writing this is to encourage some of my fellow budding writers like @Capricorn42, @msstice and @Joshua Jones not to be afraid to just dropkick into touch anything that doesn't feel right. If it's awkward and doesn't flow, that's probably because it doesn't fit and there's always a far better solution at the back of your brain just waiting to be scratched into being.
 
Hi, @BT Jones
I advised you to be calm, see, because lateral thinking requires giving the mind time to, first, identify the problem and, second, generate the solution. In addition, when it comes to working with many characters, I have learned to always have one or two centrals that guide the action so that the others gradually appear and leave the scene depending on which plot is being developed in a certain chapter. Right now, for example, I am working on an arc that began several chapters ago and where surprisingly a character who was secondary literally sent those who were supposed to be the two centrals for a walk since he made them arrest or something similar and now he is in charge of leading from there the actions so that of course now everything revolves around him.
In addition, apart from the mystery of the story, this boy, a real playboy, already has at least eight parallel love conflicts whose fate will be resolved by love or a bullet. Quite a mess, as you can see, as he finds himself part of a team in competing with others looking for the discovery of a millennial secret aboard a strange mix of psychedelic hotel of glamorous atrocities and a gigantic tomb ship. And how do I solve all those problems? With the coin and heads or tails.
However, I'm used to the fact that the first draft of each chapter is just the outline; the next day I have the clearest idea and confirm and improve the sketch or completely redesign it. All this rewriting for me has already become simple routine. :giggle:
 

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