Many songs don't go into a chorus, but sing the hookline/main meaning of the song at the end of an elongated verse. Some jazz standards and musical numbers do this - you song a long verse twice but the end of the second verse merges into a kind of middle eight, theres some jazzing around, and then the verse again, but no real chorus.
If the end of a verse seems strong, perhaps it's actually the hook. Don't beat yourself up about coming up with the 'killer chorus' that you thought you were going to write. Perhaps the song is happy as it is. Some songs like this can sound like 'all chorus' - and you can find that the hooks that you have going throughout the song are plenty hooky enough without going into 'another bit' to sing along to.
Getting out of thinking 'and now there must be a chorus' can be very liberating if you haven't done it before. Listen to some jazz standards and you realize that it's all 'chorus'.
Middle eights can also be something you think you 'should' have. In the past, the 'middle bit' was the musicians having a play around the chords to give the singer a rest before he came back in at the end. Instead of doing that, why not just write an instrumental middle eight, which reflects the mood of the song in a slightly different way to the main body of the song? And then come back to the last verse? Of course all this has been done before, but it's easy to forget when you're having difficulties.
Perhaps you don't need a chorus. Perhaps you don't need a middle eight.
If you're fighting with song structure, go listen to The Beatles. Some of their greatest songs didn't do anything that a normal 'how to write a hit song book' will teach you.
'Yesterday' and 'Norwegian Wood' - the verse was the chorus?
