This book has been different. All books are different, but this one has been really different.
The plot is extraordinarily simple. Small squad of soldiers sent into a forbidden zone who then have to try to get out.
Within that simple plot, I had a theme of the Noble Savage, of innocence lost.
Each part of the plot had some philosophical goals. Each of those goals needed to be manifested by mood and dialogue, both inner and outer. In each section, I waited until I was "feeling" it.
It's this last goal which has been incredibly difficult to do.
For instance, by the end of the books I wanted the two main protagonists to fall in love. I've reached that moment where it needs to be manifested, but there is literally no plot to hang it on. As far as the main male character knows, he's the last survivor. She saves him, nurses him to health, they talk a bunch, they fall in love.
How the hell do you do that?
In the past, if I had two characters fall in love it was through the mechanism of plot and I tried to let it develop naturally. But now they are suddenly thrown together and I have to show them falling in love.
I've got four days to write those scenes and make them believable, then onto the climax, which is short and plot oriented and I think rather satisfying.
I figured out another reason this book is different. The penultimate chapters are contemplative, not action oriented, which is the opposite of normal. The last chapter will be action again, but the fact the book slows down and takes a deep breath at the end--that is different.
3 hours ago