I have a problem now, my novel is completely dead in the water because of it. Let me explain carefully: The main character of my novel is a NCS (CIA) spy investigating subversive activities in the middle east in the 60s. His main goal in the story is to use the cash he earns in this dangerous job to get back the Staten Island mansion his father lost gambling years ago, while living as a bon-vivant in the exotic locations he is sent to. That's all fine for me. However, the story took an unexpected turn, I wanted to explore the more personal side of him, so I introduced a supporting character, a Turkish-American businessman with ties to the Turkish MÍT that helps him go after the main villain of the story in the later arcs, during the Cyprus crisis and the prelude to the Lebanese Civil war. At some point, the critical choice of the protagonist is cutting a deal with the businessman, where he marries his daughter, who he fell in love for, leaving the CIA and getting his mansion and fortune back, while losing his snobbery and pride by converting to Islam, with the opposite choice being retaining his pride, breaking her heart and losing the chance to recover his fortune in the process. I am not certain however that this last subplot ties in nicely with the theme of the rest of the novel, particularly the religious themes I'd have to explore. (Jet-set era of luxury and glamour espionage in the 1960s.) Should I continue with this premise or rewrite some of the already written pages to alter it? Not a natice english speaker, so pardon me for any spelling blunders.