Yeah, that second part.
Having fixed those couple of things over two weeks ago, I found myself still twitchy and uncertain about the story, so I've been spent the time since doing a lot of thinking about why that might be. And I've come to two main conclusions.
Firstly, the balance between the two main strands of the story isn't right. The more I've worked with one, the more I've realised I want to focus on that aspect even more, which means paring the other one right back to redress the balance.
And that led to a long thought process about which aspects of the pared-back strand I need to retain in order for the overall story to work, and how to reshape them to good effect.
The second conclusion I reached was that I haven't gone far enough down the secondary-worldbuilding road. I've said before that MoulderingBook is set in an historical time-that-never-was, with a Gothic and Steampunkish flavour, but what I've realised is that I've been hedging this aspect as I want to avoid the book becoming overly fantastical. I still do. I like my fantasy settings to have their roots firmly anchored in history, or at least in historical possibility.
So I thought some more, and from out of nowhere, the worldbuilding elements I want to work with dropped neatly into place, and opened up lots of lovely doors to possibility. It's such fun.
It all means I've got a significant amount of reworking, reordering and set-dressing to do, but I'm feeling much better about the whole thing. Much more like I'm heading in the right direction. Hurrah!