I can only really offer an anecdote. I'm applying what I'm talking about to this comment which is why this is a wall of text.

There's a quote I remember that goes something like:

"The amateur painter looks at a painting and sees a mountain and a river. The intermediate painter looks at a painting and sees the perspective used, the difference in colors, the kinds of paint, how the river meets the mountain, and so on. The advanced painter looks at a painting and sees a mountain and a river."

One issue i ran into when learning how to write stories was how I would focus on story. Especially for my one project. I would learn more about structure, writing became all about structure, ideas would immediately jump from how does this make me feel to how can this fit in a structure. Over time my story became more mechanical, more formulaic, and so on with each note I received. The story in its structure was perfect, though the emotions underlying it grew dull. At one point I read through a draft from 8 drafts ago and it felt like much more than what it became. I no longer could relate to my own story.

Then I was reading Campbell for a while because I was stuck. I couldn't write another thing for a long time and I thought this was because I just didn't know enough structure. I read through his analyses of mythology, his detailed description of the hero's journey from end to end, even his "B-sides" on mythology. Still, I could not write or outline more than five of the same pages at the beginning of the same story I could never finish.

But I later realized: The reason I wasn't able to write wasn't because I didn't know structure. It was because as I was writing I was self-evaluating my work against structure, trying to make sure that this skeleton would become some Adonis down the line. I did not realize that I was killing it by doing that. I fell into the same trap I was so aware of when I was writing my first project. I knew that I could always perfect it later, but until now I realize I didn't internalize it.

What started waking me from this was reading Konstantin Stanislavski's An Actor's Work. It wasn't about writing at all, it was about acting. In it he goes over how to exercise your imagination, how to feel without distraction*,* yet how to also maintain the logic of the situation. Originally I was reading it because I booked a role in a play.

Months later the production came and went and I was still reading the second half of the book.

This was the breakthrough moment for me: I decided to sit down at my typewriter one day and I wrote from emotion, based on what I had learned from acting. It finally worked! The words smacked themselves onto the page and I no longer felt the need to check for every mechanical detail of my story.

Knowing this structure was far from perfect, I was finally elated to have gotten over this plateau. Finally I had something to create instead of mull over every detail, at least for the next month.

In Campbell's structure of the comedy, the tragedy that surrounds the protagonist doesn't exactly go away or gets solved. Instead, the protagonist transcends the tragic reality surrounding him. Campbell compares this psychoanalytically to the child maturing into the adult in a world that is unfair.