You may already intend to do so, but, I suggest learning your melodic minor, harmonic minor, and diminished scales within a theoretical context e.g. their utility. It may even help to start learning these scales through the arpeggios contained within them/comprise them.
For example, in relation to your diminished scale, i find it has been extremely helpful in learning how the scale itself lays out on the fret board as well as being very awesome sounding to think in terms of the four major triads that are present in the diminished scale.
I am also of the opinion that learning to think and improvise intervallically is a must, so why not start now.
One such nugget of awesomeness for me was thinking of the diminished scale as 4 sets of major triads.
You may already be aware of this, if so stop reading now, but if not this may be of interest.
For example: lets take the Eb diminished scale. the notes contained in this scale are as follows
1 2 3 4 5 6 7 8 1' Scale degree
Eb F Gb Ab A B C D Eb note name
w 1/2 w 1/2 w 1/2 w 1/2 interval between successive notes
obviously one can view this as alternating whole steps and half steps to generate the scale in a linear fashion. However, you can also construct the same scale by thinking of it as 4 seperate major triads.
the major triads contained here are D, F, Ab, and B.
D F#(Gb) A <------(D major Triad)
Ab C Eb <------(Ab maj Triad)
B D#(Eb) F#(Gb) <------(B maj Triad)
F A C <------(F maj triad)
These major triads are typically referred to as "cousins" and can be used interchangeably for any of the 4 Dominant seven chords D, F, Ab, B (or a ii V pattern containing any of these dominant seven chords).
Further, by thinking about only two of these triads at any given moment as your "pool of notes" you have essentially 6 notes to choose from (plus chromatic tones connecting these two triads), and by picking a different triad pairs you can elude to different sonorities and thus change how "outside" your sounding.
For example, using the same maj triad cousins over a D7 chord
outside but not too outside sounding:
D and F will highlight a D7b9 sonority
D and Ab will highlight b9 D7b5/#11
D and B D6/b9
more outside sounding
F and Ab
Ab and B
in addition you may find that certain sections of tunes can be simplified (as far as improvising lines is concerned)
For example the opening two bars of Lazy Bird
A-7 D7 l C-7 F7 l
pretty quick modulation (which again modulates), but as as it happens you can use same four maj triads just outlined be used throughout the two bars, greatly simplifying your matters for improvising a line (for me anyway). (note: of course playing through the changes is also a well advised method, but this is just one thing to add to your bag of tricks I know it has helped me)
I hope some of this rambling can be of use.