Was thinking about getting the MC to the scene where he beats the h#ll out of another guy. Since this (the beating) is an important emotional point in the story, I can't just white-space the transition and have him show up at the other guy's home. We need to know how the MC's feeling as he heads there, so we know what to be worried about.

Next chance I get I'm going to pull together all the pieces I have about the antagonist and put them where that transition scene's going to be, so that I have them at hand to work with. This is a good place for most of it to go, because the MC's main worry as he heads over to beat up the guy is that he's got to get through the antagonist first, to do so.

This transition scene will involve moving through physical space, and arriving at the antagonist's home (also the home of the about-to-get-beaten-up guy). So I need to settle on what that home looks like and where it is. And I've got to work backwards to do it; for example, I know the antagonist is going to always make sure his home has a back way out, because he once killed a bunch of bandits by barring the door to trap them inside and setting the place on fire. Also, thinking about the MC's, er, bathroom habits has made me realize that the antagonist has always lived on the move, camping as best he can. This is his first permanent residence; he chose the site, fixed it up the way he thought it needed to be, and set the ground rules for everyone living there. But since he's more or less raised himself on the run in the wilderness, and since his focus has been strictly on shelter and defense, he'll have made mistakes about sanitation, daily upkeep, etc.--in other words, about what's needed to keep the inhabitants healthy and functioning.

And, if I think about who he is and how he feels, I know that he's sharp and observing, always in survival mode. So he'd notice how things are done at the MC's place, and though he probably wouldn't ask about any of it, he'd work out in his head the benefits of doing things that way, and enforce them in some form or fashion at his home.

And the MC might notice one of these changes in fixtures or routine, when he comes on the scene.

So two things I want to do when I get a chance are 1) get all the bits and pieces I have about the antagonist together in one area so they're ready for me to write that transition scene, and 2) get a place set in my mind where the antagonist lives, and where the beating-up takes place. Once I do that, I can figure out where everybody is when the MC arrives, and what they're doing.