This is apparently also how I write, at least based on how it's gone so far. I pick a scene (either because it follows logically from the one I just left or because I get excited thinking about it) and frame it in terms of interaction; if it's not multiple people interacting, it's an individual interacting with their environment, memories, worries, plans, creative work, etc. Then I turn the scene around in my head and rehearse it a bunch of different ways. If something feels out of character, ahistorical, or otherwise off, I tweak it. Lather, rinse, repeat (sometimes literally--I do a lot of this sort of thinking in the shower).
I focus less on specific words and more on concepts, same as when I'm rehearsing for a real-life event: make sure you express this, but try to avoid discussing that. I don't worry too much about how the scene builds plot, though having characters' different motivations interact almost always develops story to some extent; I'm just getting a sense of how the interactions might go. And the emphasis is on "might": the first time I noticed that I was doing this, it was because I'd caught myself assessing a scene in my head and realizing that there were several different and equally acceptable ways that it could go. That alone was kind of revelatory. I'm not usually so easy-going. :)
When I write the scene down, the written words are like a translucent overlay on the imagined interactions. I fill in a lot of details while I'm writing, things like body language and staging and specific witticisms that aren't relevant to the rehearsals. Then I look at the places where the overlay diverges from the rehearsal and decide which I like better.
I do almost all my writing on Tuesdays, and write maybe 1200 to 1500 words in a day, so I spend most of a week casually exploring possibilities for fairly short scenes. It's a leisurely process. I like it.
The one thing I need to watch out for is that when I'm rehearsing for real-world things, I want them to go as smoothly as possible, whereas sometimes fiction needs to go very badly for one or more people involved. J reminded me today that I struggle with maintaining tension in my longer narratives; I always want to solve all the problems right away! I also tend to keep writing after a scene has already done all the things it needs to do--I guess I just get in the groove, and I don't quite have a sense yet of the natural stopping point--and then it trails off in the fiction equivalent of people awkwardly making small talk at a party because they don't know how to escape. But I'm working on that. I suspect it's going to involve writing a lot of scenes that go like this:
2. presentation of problem
3. resolution of problem/unnecessary restatement of problem/hot air
and then cutting part 3 and either throwing it away or saving it for later. I guess this is a type of "writing out of order" but I'm not doing it deliberately; I'm just an amateur writer who doesn't know how not to kill tension yet. :) Fortunately I'm also a decent editor who can spot the problem once I'm looking back at it.
Arm pain is my friend here, oddly. I had to stop writing on Tuesday night because ow, and then I went back on Wednesday and realized that actually that scene had done everything it needed to do. It didn't end in a perfectly resolved way, and that's just fine because I am writing an entire book and individual scenes and chapters don't need to be perfect tiny short stories. :) So I will leave the # at the bottom of the page where Scrivener put it and move on to the next thing, which is probably Nathaniel and Eliza having a fight.
I might even end the scene while they're still--*gasp*--annoyed with each other.
Gosh, that feels wicked and daring. :D
Have I mentioned that I'm having so much fun with this? The slow pace really helps with that too. At 1200 words a week I'll be done in a year and a half or so. That's fine. I'm in no hurry. And I just get to enjoy it.