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Source: https://writers.stackexchange.com/a/32527
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Perhaps you've guessed this may be another form of **"Kill your darlings"**

I wonder if it may be the "add to the character's development/ lay the groundwork _but doesn't add up to the current plot_" scenes are the ones making the story hard to read for your audience?

Look into your story's **theme**. (using the present story as the first focus then the series plot.)

I might be facing this with my story (series) too. It is really difficult to narrow down a series worth of events into a single book (at least I am finding.) So much so, I wrote a lot of short rough drafts, taken several turns and a few rewrites. I have a similar type process (Part plotter, and part pantser) I have a general grand scale plot mapped out. There are certain key plot points that must happen. How those happen is a bit less organized. I let the characters figure out how to get there. (usually by imagining the scenes first before writing.) Sometimes I have to force the characters along and sometimes they surprise me with better ideas that totally mess up the story or even a section of the series. The detours may be annoying, to the point I may try everything I can do to resist it, but in the end it seems the characters know best, and it is better to go ahead and rewrite if needed.

That said, you may have to trim/ narrow down/ remove the scenes that don't add to the plot. If they are critical to the series, then they also have to be reworked to fit the theme of the current story as well.

I found [this article](https://www.helpingwritersbecomeauthors.com/secrets-of-good-storytelling/) very timely as I was struggling with a scene between two of my characters that needed to happen. What I wanted them to talk about was not important to the current story's plot, so in the end I had to scrap it and have them talk about about something more relevant to the current story. (yes there's a murder in their back story and things that if revealed will rekindle old hate and more drama, but since book 1's theme is _not_ about the murder event, that whole subplot can't be included in book 1 (It does loosely fit the theme about overcoming bullies, fears, regrets, but does not fit because the book's plot that is focused on the two former friends turned enemies coming to face with each other resolving their emotions relating to a different life event.) Stuff about the murder would be interesting, but would skew the plot of book 1 and make it hard to read.

What I did is drop little hints referring to it, but downplayed the impact/ foreshadowing and played up the part of getting the two characters to come on friendly terms. That way I hopefully set up the groundwork that will give a satisfying ending (seeing the two friends together) but also a question in the reader's minds learning that things could drive them apart later.

That said, I'm far from finished and sure I'll have to sort through more stuff in the next draft. I may also have to accept there may be parallel novels related to the same time span, but relating to different characters, since some of their stories have a completely different goal than the other character(s). Enough that I can't force it into being a side plot.

* * *

Rereading your post, perhaps my answer may not be that helpful after all, but it still sounds like a "kill your darlings" situation.

Repetitive scenes - Pick the one you like the most/ that works the best for the plot. The others may have to go (unless they give new plot stuff, then focus on the new stuff for the next version)

Lack of transition: I struggle with this too. Sometimes it is simple as looking over the dialogue scenes. Did any of the characters jump to the next topic without reacting?  
(This is feedback I got on my story from readers.) I found sometimes going back and reworking on it changes the whole nature of the scene, but in the end makes more sense. Even if it means I can't keep any material from the old draft. Sometimes doing this cuts down on the repetition. (I find since the topic already got addressed and the appropriate emotional response met, then the other scenes trying to bring that characters emotions aren't needed.

Original score: 2