Perhaps, instead of moaning how I can't read Chinese body language, I should be surprised at how much I find perfectly comprehensible. But of course I don't notice the perfectly comprehensible bits because they feel 'natural'. So maybe I can't figure what's going on in Ya Yu's head as she watched the ropes go around Fan Li, but Wu Zi Xu's exasperated sighs at the king's bedside are exactly what I'd do. In fact WZX is completely clear to me, body-language and expression-wise, whereas Fu Chai might as well be Japanese, and Gou Jian isn't much better. Only of course, in this section, I fancy I'm supposed to be befuddled by Gou Jian.
Continue to poke at Kaiei at the Southern Ocean. I know what has to happen- that is, I can see at least two feet ahead in the dark- but I'm having flashbacks to that other epic saga I wrote, The Garden of Proserpine. There too I was bothered by how much I had to keep writing 'And then he went here' 'and then he went there' 'and then he goes to the bath and then he goes to bed.' The mechanical process of getting my character where he needs to be so he can do the next thing he has to do always feels stilted, especially if he's confined to one particular location, as in Percy. The other Dorian stories had him moving about Paris, and simply stating the shift in location served as a reasonable transition between scenes.
The other plotted fic I did was the Count Cain one, where each low-key action present-day scene alternated with a flashback one, that held the plotty-plot story. Jerkiness there went unnoticed because it's the nature of flashbacks to be sudden. But all that happens in Kaiei... is Kaiei poking about his uncle's palace, being a well-bred prince, while his minions gather information that they'll deliver in the course of time to bolster his own impressions. Well, and Kaiei being free finally to experiment with a range of bed partners, which might be more interesting if I wasn't so very menopausal these days.
Scene breaks happen much more organically in emotion-driven stories- but that, doubtless, is because not much physically *happens* in an emotion-driven story. The feelings are the plot and take centre stage; the actual events can be minimal with no sense of loss. Which is why the sequel to Kaiei... is so much more interesting: it's all about emotional conflict and sibling dynamics, which were always my forte.