It’d be inaccurate to say I already know my main characters’ psyches, but I suppose I’ve just known people like them, usually whom I’ve admired or at least respected. Plus, I have a personal bugaboo about using stupid characters to move the plot or a scene forward. That device just annoys me. So, between these two prejudices, I suppose it makes it easier for me to intuit my characters’ ordinary responses. And by keeping them all fairly smart and logical, I still have the freedom to get away with a few (logical) twists and surprises (which I’ve always relished in a story).

I have, as an afterthought, written biographies for some of my characters, but rarely felt need to consult them. And while I like most, I haven’t yet had any problem deleting one’s scene, if it doesn’t best fulfill a plot need.

That's an interesting comment. Usually, writers focus on their protagonists and the main plot. Subplots definitely contribute to a rich reading experience.
I like your approach to scene writing too. You know what you want to accomplish, but you don't stifle your scene pantsing. That's a balancing act.

My pleasure, Lisa! 🙂

So true. Knowing our characters take time. Happy discovery time!

I’ve particularly noticed, whenever I’ve experienced an extended disruption to my writing, I come back with a revised evaluation of either sub-plots, characters, or both. Usually, in my view, these have been for the better-more interesting plots and characters, where these new stand outs take a more active and interesting role.

I have moved more and more toward plotting, but my scenes still develop more organically. I know exactly what I want to accomplish plot-wise in each chapter, but only choose my approach to each chapter moments just before I begin writing.