Interesting premise. I wonder if I should write one scene twice, once from each methods, and see which one resonates more.
In life we really don't think about "I'm deciding on doing this," "doing this." Some very important moments in our lives get that kind of consideration, like who to marry, where to go to university, accepting a job offer. Otherwise, who we are creates the things we do based on a thing in the back of our head that decides.
How do we decide? character + appetite + opportunity.
Most people who don't think about the internal structure of a scene, probably most new novelists, try to build tension by the intensity of the action happening. A child is kidnapped. A ransom note is received. Actions drive "what do I DO now." Which almost skips the decision/ weighing stage of those BIG choices--BIG because the costs are high.
Otherwise, the non "tension" scenes just go on and on, like our everyday lives. Unknowingly deciding and acting, without really thinking too much about weighing our options or feeling stressed.
But Swain's approach (I'm not familiar with the KTAD model--I'll look that up) says that "if you want to SELL YOUR BOOK, you've got to think about the Decisions and reactions. Because, I think, when you're talking about "a Story Mind" while we approach problems with all these elements, we DO react and decide inside almost without thinking about it. But the passions we live are these things.
We may call it "personality" or "Way I respond" but we don't think about responding -- we REACT (or act). We DO, and don't know how we decided, but feel passionately that we DECIDED right.
