As I've been developing my current story, there's been one throughline that hasn't quite been coming together, and I was ignoring it. I was really excited about the other ones, but somehow, throughline X just didn't gel. There was no REASON for it. It was just kind of lying there.
So I went through the PSR again and just focused on that one throughline. I realizes there were some central issues the characters had to face I'd been avoiding. I solved some plausibility problems (the great question: why don't they just stop?)
So I just followed the dots and wrote out the story of that throughline and ignored the rest of my world. I gave it the attention it was due--it felt like, finally you're paying attention to me, and it rewarded me by showing itself to me.
And there was a moment when I could feel my own interest light up. I now understood my throughline and fell in love with it.
I think that was key. I couldn't feel close, intimate with that throughline, I hadn't been able to bring it 'inside' me.
I'm still kind of learning how to do this, so my understanding is crawling along here. I do have this experience in my software career, learning a new language or technology. There is a moment when my understanding of a language 'flips' - I'm no longer looking at it from outside, but from inside. I think the same kind of thing has to happen with a story, or throughline, and that's how you know you're in the right place to actually perform it, and also that it's got something close to the right shape.
Just some thoughts.