We're swimming in the narrative conceit that what makes extraordinary characters interesting is their extraordinariness and what makes protagonists interesting is that they're protagonists.
Lots of things happen that characters don't know about, or only hear about. That's part of life, and is perfectly fine to include in fiction. Instead of trying to fix it, have your characters react to it.
If you still want to write even after you let go of any feelings of being obligated to write, take some time to think about why. Are there ways to access those motivations and keep them in the front of your mind so you can gain some satisfaction and joy from them?
Today is the fifth Tuesday of the month, which means that my answer to this heartfelt letter is available exclusively to my Patreon patrons.
Let go of any inclination you have to identify with your work and interpret critiques of your work as critiques of you. Critiques of your work are critiques of your work. Your job is to use them to make your future work better.
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.
Satisfaction comes from sustained tension leading to a climax. The tension in a mystery is usually an unanswered question: who, why, or how.
You can't thrive by only making art that feels safe and easy. But you also can't be brave all the time; you need rest, and play, and learning, and sustenance.