Then I go back, get into context of what they are, and slowly pick my "picks". Then I leave them again for at least a day, then go back and just look at the picks and start making decisions. Then I decide on my "keepers", ones I will work on. I never look backwards at this stage.
Then I start to examine which one I really think are the best of the keepers and start working on them. Once they are done, then I may go back to square one and do a run through to see if I was right in my choices. Occasionally, I'll bring in a couple more, but not usually.
All that being said I've gone back to square one a few years later and wonder why I missed some that I now like.
But my point is I need mental space between shooting and making decisions about which ones have real possibilities.
Back in my darkroom days I often found on portraits when I doing exposure tests, (I didn't do test strips) I'd have a 20x20 set up on the easel and lay down an 8x10 sheet for a test of just the face, I often found that the 8x10 was a great print. That taught me how to do radical cropping, that I later trained myself to do in the camera. It totally changed how I saw people and faces.