Like everyone else has said, OP, the main thing you need to do is keep writing! Have you seen the "make your shitty pots" post?
If not, it goes something like this: A guy was teaching two sections of pottery 101. He told one section that their grade was going to be based on one final-exam pot, that was the best they could do. They spent a lot of time studying technique and theory, and planning what to do for their One Best Pot. The other section, he said would be graded based on how many pots they made. They started making pots from day one, and the first ones were really bad, but they got better as they went along. In the end, the best pots from the Many Pots class ended up being better than the One Best Pot from the group who were told to strive for perfection.
Now, I work at a college, and in real life you'd probably get in a lot of trouble for conducting two classes like this (at least if you hadn't gotten approval from the Institutional Review Board to experiment on your students), but it is absolutely a true thing that, to get better at something, you need to do it. Make your crummy, amateur-looking pots, and then make another one.
Keep writing, and if you can, keep sharing your work with an audience--even just a small one. If you can find somebody (or preferably several somebodies) wo you can trust to give honest-but-kind feedback, treasure them. Having your worked ripped apart doesn't do any good, but if they can both point out your strengths and draw your attention to areas where those strengths have not been applied, that can be really helpful.
For instance, I'm personally pretty good at dialogue, except when I have worldbuilding or backstory information to convey, when I tend to have characters info-dump, regardless of whether it's in-character for that particular character. Since I know this, I usually go ahead and write a version of the scene where they do just that--that way, I can work out what I need to know, and what each character knows and doesn't know. Then I do a second pass where I figure out what the audience needs to know, and put everything else aside in my "keep this in mind/maybe use it later" document. Finally I do it a third time to try to make it sound like how these people would actually talk about this topic.
Oh, and also, I'll often move on to write the next part of the story in between drafts of the scene I'm struggling with--often the "what the audience needs to know" question becomes clearer once I've nailed down what's coming next. (I'm still working on knowing when to move on. so far it's happened twice with my current project, where I realized, "Oh, I've been churning over this scene for ages, I should actually just let it sit for a bit while I do the next thing," and I'm proud of that.)
This specific example may not apply to you, but the point is that, even within the context of a given piece, sometimes you have to make your shitty pots.
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