Get inside her head. Get inside any character's head and ask what they want in this scene. And if you work from the perspective of what they want, there's not going to be any wrong answer. There's going to be some boring answers, but none of them are going to be wrong. As long as she has agency, then you're on the right track.

I think I'm very strong at dialogue, I think I'm very strong in characterization. I think sometimes I use dialogue and character work to cover weaknesses in my plotting.

I need to go where I'm not comfortable. I think that's the artist's job.

There's a difference between feeling like I don't need to explain and deliberately confusing you. If the impression is that I'm deliberately confusing you, that is not what I am trying to do at all.

I was asked in an interview once: You're writing another book with a female lead? Aren't you afraid you're going to be pigeonholed? And I thought, I write a team superhero book, an uplifting solo hero book, I write a horror-western, and I write a ghost story. What am I gonna be pigeonholed as? Has a man in the history of men ever been asked if he was going to be pigeonholed because he wrote two consecutive books with male leads?

I guess I am conscious of my weaknesses, and I think pacing is probably my biggest. I don't know if I think the clarity thing is actually a weakness. It was a stylistic choice.

If you're not interested in your work, you're not doing it right.