She pulled the suitcase slowly over the litter of ice chunks and grit. She held it steady so it wouldn’t tip. As she stopped under the bus stop sign, she carefully set it from two to four wheels, as if it was full even though it was almost empty. Lina didn’t know how she had lost all her things.
Scofield’s primary point is that each scene has a pulse, which writers can think about in all kinds of ways, but, basically, the scene has emotional dynamics that relate to the overall story. The characters have wants or needs.
We often talk about scenes like we know what they are, but I sometimes see students mistake the following non-scenes for scenes . . .
Surviving in the current landscape of higher ed isn’t always easy, but my MFA program has a huge and exciting announcement.
