Okay, Elle, to use a poor poker metaphor: I see your “dialogue is my weakest point writing-wise” statement and raise you an “action sequences aren’t my strong suit.”
I’m not talking about true action, ie fight scenes, sex scenes and the like. Those are great fun. I mean the boring stuff that happens between point A and point B. For example, during a recent editing session, I struggled for three days to get my girl, Tess, from her apartment to her car. Here is what I imagine was running through her head:
“Okay, Kel, I’ve been standing here for three fucking days. You’ve made my driveway wet and soupy with thick, brown mud to symbolize the shithole my life has become. So please–please–could you just write my fat ass down the stairs so I can get on with it?”
So after three whole days, how did Tess get to her car?
…I threw on my coat and clomped down the stairs…
Because–sometimes–that’s all there is to it.
R.J. Keller 
I would imagine different people to do it different ways, but I would only describe the “boring” parts as briefly as possible. Or at least insert the boring parts in more exciting/interesting parts such as dialogue (internal or external) or description of what is happening in the surroundings.
Of course in Nano, you could probably dwell on the boring parts as long as you want just to up the word count. But generally, if the writing is boring you, it will bore the reader as well–and it would be best (if possible) to avoid it altogether.
OTOH, I’ve been known to keep a particularly boring book – usually a stupifyingly pedantic tome on some esoteric philosophy – on the nightstand as a sleep aid.
Cheaper than Nytol and not addictive.
My protagonist, Tess, struggles throughout my novel to finish reading “Zen and the Art of Motorcycle Maintainence.”
You think I’m kidding…but I’m not.