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Eeek... I can hear the people saying already that I'm reading too much into it.
In the story I'm working on, I'll have twenty scenes that fit naturally. Then I'll lag trying to figure out what would go in between them to double the whole count.
This question has been rattling through my mind for a few months. If it fits the human mind interpreting story, I'm more curious. I remember reading about the Dramatic Circuit. There are four parts of the circuit creating conflict. They're not necessarily presented in the same order. I also remember they can also be called Setup, Revelation, Conflict, and Aftermath. My story was inspired by a movie that's an epitome of its genre, so I've been repeatedly watching it as guide. Those four steps don't seem that noticeable in individual scenes, but as a sequence, I could see where they come out. Maybe a scene or two occupies one of those steps. I figure if I know my two values in conflict or the situation of the entire sequence, I could define them by these four points and design the whole sequence faster. Yeah... that's the truth.
Does anyone have comments?

What you are noticing is the difference between the storyforming/storyencoding and the blending, slicing, rearranging that naturally occurs during the storyweaving process. Understanding the components of the dramatic circuit (Dramatica circuit) gives you the pieces of your story, but storyweaving obfuscates the clarity of the storyform (which is a good thing) to turn it back into an organic feeling narrative.

There is no single 'right' way to weave your scenes together.