It's always easier for the panorama stitching software to stitch the photos correctly when there's a great amount of overlap.
When I shoot for a panorama, I look through the viewfinder for focal points. "On the right side of this photo, there's a small tree standing remotely of other trees. I'll put it on the left side for the next photo." That's my thought process. That small tree on the right side of the photo could be right at the edge, or almost smack dab in the middle, doesn't matter. As long as I see a clear overlap, the software will probably detect that, too. That's my experience, at least, with Photoshop CC.
When I use a tripod, I try to be more precise. But because I only have a ball head, not a panoramic head, I prefer shooting for panoramas handheld, using
the technique laid out by Kevin Raber.
I never shoot for a panorama at a focal length shorter than my system's standard focal length (21.6mm). The standard focal length is the easiest to manufacture with little to no distortion and best uniformity, so it gives more consistent results. I also try to shoot at the optimal aperture for sharpness, more so than with any other shot, because I tend to print stitched panoramas much more often than any other photo.