• I know this doesn't sound like it'll make much of a difference, but trust me when I say it does.
• Every single time I've tried this, it worked and the scene flowed magically.

• If your book has multiple POV characters, it might be a good idea to switch the scene to another character's perspective.
• 9/10 times, this will make the scene flow better.

• Oftentimes, a scene just doesn't work because you're not starting in the right place.
• Perhaps you're starting too late and giving too little context. Perhaps some description or character introspection is needed before you dive in.
• Alternatively, you may be taking too long to get to the actual point of the scene. Would it help to dive straight into the action without much ado?

• If your scene involves dialogue, it can help immensely to write only the spoken words the first time round.
• It's even better if you highlight different characters' speech in different colors.
• Then, later on, you can go back and fill in the dialogue tags, description etc.

• If nothing works, it's time to move on.
• Rather than perpetually getting stuck on that one scene, use a placeholder. Something like: [they escape somehow] or [big emotional talk].
• And then continue with the draft.
• This'll help you keep momentum and, maybe, make the scene easier to write later on once you have a better grasp on the plot and characters.
• Trust me, I do this all the time.
• It can take some practice to get past your Type A brain screaming at you, but it's worth it.

“The value of the myth is that it takes all the things we know and restores to them the rich significance which has been hidden by ‘the veil of familiarity’. The child enjoys his cold meat (otherwise dull to him) by pretending it is buffalo, just killed with his own bow and arrow. And the child is wise. The real meat comes back to him more savoury for having been dipped in a story; you might say that only then is it the real meat. If you are tired of the real landscape, look at it in a mirror. By putting bread, gold, horse, apple, or the very roads into a myth, we do not retreat from reality: we rediscover it. As long as the story lingers in our mind, the real things are more themselves. This book applies the treatment not only to bread or apple but to good and evil, to our endless perils, our anguish, and our joys. By dipping them in myth we see them more clearly.”