After three variations I found myself stumped. The third feels right, but is it?

It’s easy to fly through storytelling, getting my readers to The End with the least fuss.

It’s better to make the critical scenes more than simply the conveyance of information. The deeper I dig into the core scenes, those that turn the story’s direction, the more memorable and emotionally fulfilling they are.

I’ve never done that, pushing myself to rewrite a scene multiple ways, looking for the best version. In the past, I’ve been satisfied to note the scene’s purpose, write a direct sequence of actions fulfilling that purpose, and let my editor tidy it up.

If he tidies brass, you get highly polished brass.

I want my books to be solid gold.

She slowed.

“Keep moving.” He shoved her.

Stifling rage, she smiled coyly. “I thought this might be a good place.”

As she stepped closer he raised his arms to either attack or defend depending on what she did next. “A good place for what?”

She softened the smile and tilted her head slightly. “Unless you don’t want to . . .”

That was the look she was expecting. All men everywhere were the same.

He lowered his arms.

She stepped closer and raised her bound hands. “Aren’t you going to untie me first?”

His face reddened and he put one hand on his machete. He leaned and stepped at the same time, his nose nearly touching hers.

As he opened his mouth to shout at her no sound came. Her hands were locked behind his neck, the thick rope pressing against the front and sides.

When he was unconscious she let him fall, took the machete, and fled back down the path. Time enough to free her hands when she was out of his earshot.