How to Ensure Your Story Never Drags: Motivation-Reaction Units
Before I introduce the writing technique, I would like to introduce this new publication.
If you’re eager to get into what the headline promises, you can skip to the section titled: Introducing Motivation-reaction Units.
Introduction to Story Lab
I break the art of writing into two essential parts in terms of development:
- Expression
- Technique
The quality of every piece of writing is dependent on the depth and quality of these two aspects.
I do not consider technique to be more important than expression.
However, this publication focuses on technique because it’s the easier of the two to objectively study, practice and hone.
The techniques reviewed are not original to me. Instead, I guarantee that the vast majority come from other writers. We are not stealing words or even ideas for content. Instead, we are simply studying the technique as an aspiring artist would study the composition and strokes of a master painter.
While not every technique needs to be employed in every situation, consider each technique acquired to be an expansion of your writing ability.
More than a series, this is a publication. If you’d like to contribute and share your own writing techniques, you can reach out to me through the Story Lab Telegram Group.
In closing this introduction, I am here to share this publication and the adopted techniques not as an authority but as a fellow writer.
Introducing Motivation-reaction Units
Often we find ourselves deep in the throes of creative expression. We’re feeling the flow. But soon, we find that the resulting prose aren’t as riveting to read as they were to create.
Worse, someone reads the first couple of lines and quits.
The problem is common, but someone has created a solution.
To help avoid the aforementioned frustration and disappointment, there is a writing technique, more specifically, a format that you can follow.
Techniques of the Selling Writer
The technique was introduced in this book by author Dwight V. Swain. In it, he offers a host of different helpful writing techniques. One of which is something he calls Motivation-reaction Units.
Motivation-reaction Units
MRUs (Motivation-reaction Units) refer to a specific format for conveying every line of your story.
According to Swain, “a story is a succession of motivations and reactions.” To communicate feeling, a writer must manipulate motivation and reaction. This is true on both the micro level of a single sentence and the macro level when we consider plot.
MRU Description:
- Motivation — Description of what the point-of-view character sees as seen through the lens of a video camera. (separate paragraph from the reaction)
- Reaction — What the POV char does broken into three parts: feeling, reflex, rational action and speech.
- Feeling — A description of the feeling, whether physical or emotional. The instantaneous reaction.
- Reflex — Instinctive result of the emotional reaction.
- Rational Speech and Action — Comes last. Signifies a choice and gives some voice to his emotional reaction (thoughts or speech)
MRU Example:
The cork dipped and bobbed a few times before vanishing beneath the surface of the water.
The dozing fisherman roused with anticipation. He jolted upright in his canoe. “I’m gonna get ya this time.” He jerked the cane upwards to set the hook.
Why Motivation-Reaction Units Keep Your Story From Dragging
Stories always drag when emotion isn’t present.
Motivation-reaction units shape emotion. They make sure your story moves by always providing something for your audience to react to.
Practicing this Technique
Now that we understand the value of this technique and how it works, it’s important to put it into practice.
When we put techniques into practice, we wire ourselves with new capabilities. Essentially, we store them like a tool within our creative toolbox.
Writing in MRU-format
- Motivation: A figure appeared at the end of the hallway.
- Feeling: Abigail’s blood turned to ice.
- Reflex: She gasped.
- Rational Speech and Action: “It’s here.” Her fingers groped for the doorknob behind her.
Put it all together:
A figure appeared at the end of the hallway.
Abigail’s blood turned to ice. She gasped. “It’s here.” Her fingers groped and fumbled at the doorknob behind her.
Re-writing in MRU-format:
Let’s try writing a portion of a scene without thinking about the MRU format, then let’s doctor it by applying the MRU format.
Before:
Rodney tried to hail a cab, but they treated him like he was invisible. His frustration grew. Why did they never stop when he needed them most?
After:
Rodney outstretched his hand to hail a passing cab. One after the other sped by without slowing.
Frustration wracked his brow. His hand shot up higher. He whistled and yelled. Why don’t they ever stop when I need one?
Which did you like better?
If you have portions of your story that aren’t improved by the MRU format, then, by all means, don’t use it.
However, if you have a scene that seems to drag or doesn’t pop visually as much as you’d like, you can employ the MRU technique as a means of troubleshooting or amplifying selected scenes in your story.
Conclusion
In my experience, the MRU format is both a quality assurance measure and a vehicle to write each scene. It keeps my writing from meandering away from the action.
With stories I’ve already written, it helps breathe life into them.
The more I practice writing this way, the more I realize the function that it serves. It keeps us focused first and foremost on progressing the story in a manner that doesn’t leave the reader behind.
Of course, like all rules, techniques, and guidelines, they can be broken once mastered. For instance, I find that often the Feeling portion of the Reaction does not always need to be separate. Instead, it can be easily and efficiently incorporated into the Reflex much of the time.
What are your thoughts on this technique? Have you tried it before? If so, what was your experience?
If you like, write a few motivation reaction units in the comments or join me here in the Story Lab Telegram Group.
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