How Do You Bridge the Gap Between Two Cool Moments in Your Novel?

This link was shared on a forum recently, showing three established authors' views on connecting plot points.

The first one really hit home for me, because I'm doing something very similar, utilising three characters' points of view to minimise on "uncool" sequences. Maybe I'll do a more in-depth post on that another time. As for now, here's what he said.
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David J. Williams, author of The Mirrored Heavens and The Burning Sky:

Writing with an ensemble cast of main characters has its disadvantages, but one of the big pluses is that it makes it easier to maneuver past this kind of problem. The entirety of the Autumn Rain trilogy is cutting back and forth between (widely separated) points of view, focusing on the highlights of each "plot vector", whether that's in a maglev tunnel beneath the Atlantic or in a bio-dome in the middle of a lunar fortress. This was a deliberate decision, in that I often find myself skimming pages of various books to get to the Next Cool Moment, so when it came to writing MIRRORED HEAVENS, I wanted to leave anything skimmable on the cutting room floor. That being said. . . sometimes "downtime" affords hidden opportunities. . . . are there implications or clues to the situation that two characters can talk about? Is there an opportunity here for more exposition or a newsfeed, or some kind of world-building? If the answer's no, then just fast-forward as much as you need to; readers will forgive almost anything save being bored. Screenwriters are taught to get into scenes late and get out of them early, and there are times I wish more novelists did the same!