After forty odd thousand words the story has its own momentum, and the characters their own agenda. Once one reaches the 100k, changing direction is like navigating the proverbial tanker! What interests me is the dynamics between author-story-characters as the work progresses. In this case the story is anchored on the City, and the characters’s ballet is centred on the City. One could say that the City is one of the characters, not a mere backdrop for the story. The City influences the (other) characters, some more deeply than others. In short, there is the trio of people who make up the current narrative, the City (and its siblings) and the author. Who best controls the story? Who is best placed to decide the future?
There may be a conflict of interests. The characters want to continue with their lives, and don’t give a damn about polishing or refining, or, for that matter, publishing! Since the City is more real than the story, it sees itself, should I say herself? – as the arbitrator. The author, of course, wishes to see a finished product. But the author also depends on the characters for inspiration, and on the City for belief. The City hosts the story, and protects the author against the inevitable drift and diversions. In one sense the book can only come to life, be born, in the City.
There are many ways to close the story. Killing one or more characters is one way. Getting the plot(s) to an unexpected ending is another. Needless to say the former is not popular with characters. Nor is the latter, since it means the end of their hopes and perhaps lives, in another way, just as final as death. There the characters and the City have a common cause.
I expect the author will have to work at two levels, and one of them is to continue with the story! The other being the boring stuff made of editing, and taking out, and rewriting, and… Stuff that!
To conclude: I suspect the author to be too much involved, and enjoying herself, with her characters to attempt anything final…