You ask for the bones of plot, but it sounds like you already have those: start, middle, end, some drama. What you need are the muscles and tendons of plot, the pull and thrust and tension that turns a skeleton into something that moves and breathes.
Take this significant aspect of your work and see it as a selling point rather than a drawback. Find venues and audiences that appreciate your work for what it is, and keep making the art that you want to make instead of jamming yourself uncomfortably into another mold.
I love semicolons; they're great. The issue is what you're doing with language and content that leads to the use of so many of them.
Nothing gets in your way more than a creative writing degree and a lot of practice doing other kinds of writing, both of which fill your head with all sorts of ideas about what writing should be like.
Today is the fifth Tuesday of the month, which means that my answer to this heartfelt letter is available exclusively to my Patreon patrons.
If you're feeling the urge to go back and fix (or despair over) what you've written already, and if it's getting in the way of powering on toward your goal and your deadline, this post is for you.
Do your best to get away from "I should be able to do this" and bluntly examine whether it's a good idea for you to do this.
Go ahead, write! You're a writer! Enjoy it! Your book is a mess and that's fine! Many perfectly lovely books start out as messes. Keep on going until you finish your mess.
The best editors act as therapists and teachers too; like therapy and education, being edited can be emotionally difficult and a challenge to your skills, but if you bring your A-game and ditch your ego, you'll get a whole lot out of it.
What makes an original work original isn't that it exists in a vacuum, because no work exists in a vacuum. It's that you layer originality in with the elements that respond to the canon, the genre, and the world.