What Is a Scene? The Most Common Misconception in Fiction Writing
The scene is the most misunderstood unit of fiction. Many writers treat it as a container for mood, exposition, or "character moments" rather than what it actually is: a unit of change that drives the story forward. A real scene isn't defined by location, word count, or the amount of dialogue: it’s defined by structure. A valid scene moves through a specific sequence: Goal → Obstacle → Escalation and it must be executed through the point-of-view character with the most at stake.
Understanding the Function of a Scene in Fiction Writing
A scene begins when a POV character actively pursues a significant, time-sensitive goal. It continues only as long as that pursuit encounters meaningful resistance either from another character, the environment, or internal conflict. It ends with a turn, an escalation that shifts the story state in one of six ways: YES!, NO!, YES! BUT!, NO! BUT!, NO! AND FURTHERMORE!, or YES! BUT! AND FURTHERMORE!.
If the unit of narrative doesn’t include that arc, it may still have value as a beat, a transition, or a sequel but it isn’t doing the structural work of a scene.
Why Most Writers Get Scenes Wrong
Three craft habits lead writers to confuse non-scenes with actual scenes:
POV drift: When you select a passive observer instead of the character with the most to lose, tension evaporates and tension diminishes.
Vague goals: Objectives like "talk things out," "understand the past," or "be happier" don’t drive action. They lack clarity, urgency, and observable outcomes.
Neutral endings: Scenes that simply end, without reversal, complication, or shift in direction, leave the story static.
Each of these weakens the essential structure of clear goal, genuine obstacle, and consequential escalation.
How to Use Escalations to Structure Fiction Scenes
Each escalation alters the direction of the narrative and deepens character conflict:
YES!: The goal is achieved but the apparent relief destabilizes the next move.
NO!: The pursuit fails outright, halting the current direction.
YES!, BUT!: Success is undercut by immediate complications.
NO!, BUT!: Failure opens an unexpected opportunity or new path.
NO!, AND FURTHERMORE!: Failure intensifies into crisis or rupture.
YES!, BUT! AND FURTHERMORE!: Victory triggers backlash, demanding identity-level change.
A Simple Checklist to Diagnose a Scene
Ask these four questions of any scene draft:
Who holds the POV, and do they have the most at stake in this moment?
What specific, immediate goal are they trying to accomplish?
What force resists that goal in real time?
Which escalation ends the scene?
If you can’t answer all four, the narrative probably isn’t a scene, it’s setup or aftermath.
How to Turn Mood into Momentum: Scene Conversion in Action
Start with the character's micro-goal. Change "have it out with Dad" to "get Dad to sign the deed tonight."
Sharpen the obstacle. Instead of vague tension, show resistance: Dad produces a legal clause, the notary refuses to proceed, or the protagonist’s panic resurfaces.
Pick the escalation. For example: YES!, BUT!—Dad signs, but demands the protagonist fire their sister as COO, dragging new conflict into the next scene.
This tightens the torque: the friction between what the character wants and what the world permits.
But What If My Story Is Quiet and Internal?
Many literary writers resist scene structure under the assumption that it belongs to plot-heavy, externalized genres. This is misconceived because internal stories still operate through change. The surface of a scene might be quiet—a conversation in a hospital room, a solitary walk, an unspoken realization—but underneath, a goal is pursued, resistance is encountered, and escalation occurs.
A character trying to suppress grief, maintain dignity, or resist disclosure is still in active pursuit. The obstacle might be their own unraveling. The escalation might be a private collapse, a subtle betrayal, a shift in perception that reframes the world.
Scene design doesn’t demand spectacle just consequences. Quiet stories still need torque.
The Real Purpose of a Scene in Storytelling
The most common mistake in writing fiction is treating a scene as a place where “stuff happens” but a well-written scene does more: it executes a specific, high-stakes pursuit, meets real resistance, and ends with a defined escalation that alters the story’s trajectory.
When every scene meets that standard, your narrative doesn’t just move it compounds.
Build Better Scenes, One Turn at a Time
More in This Series on the Most Common Fiction Craft Errors
• How to Write Setting that Drives Story
• How to Build Scene Sequences That Matter
Want to Stress-Test Your Scenes in 15 Minutes?
Schedule here: calendly.com/mattcricchio
