When I’m critiquing a writer’s work I find I talk a lot about choreography. In the theatre, choreography of course means dance, or movement, or even fight scenes. It’s true that I’m referring to that in writing, but I’m also referring to what we’d call “blocking” in theatre.
One of the questions to ask yourself when you’re writing, is “Where are my characters standing/sitting in the scene?” You don’t need to answer this question in the narrative! It would get mighty draggy if we kept saying stuff like, “Ken is standing to the left of Carmen, and Boris is behind her, but facing the other way.” Yuck! Don’t do that!
But you as the author need to be aware of where people are.
A couple of years ago, I critiqued a friend’s novel, and there was a scene where several characters were on an airplane; one of those little propeller planes, with just a few seats. The characters were carrying on a conversation amongst each other. The reader was told that so-and-so looked into another character’s eyes, and I thought, “What?? How’d they do that?” See, character one was in a seat on the right, and character two was across the aisle in the row ahead, on the other side of the plane! I don’t if you’ve ever been on a plane, but try making eye contact with someone a row ahead and several seats over. I dare ya.
The other thing this author had forgotten was how loud a propeller airplane is. There is no way you’re carrying on a conversation with anyone, except maybe the person next to you, and even then you’re having to holler a bit.
It’s really important to keep your writer imagination engaged: picture yourself in the scene, so you can see, hear, smell, taste, touch all the things in the way you want your characters to.