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 . . .
I shouldn’t feel lucky because of a drought, but I do at the moment. Teaching outside would be far more challenging if we were soggier.
You have a draft, but what is your story?
When I start talking revision with students, I can see the tense shoulders. I can see the wincing.
