A search of the internet for advice on how write better fiction will lead to millions of links to articles about a wide variety of techniques that vary from learning the minutia of grammar to firming up your overarching theme. One technique, however, is both insanely simple and incredibly effective. It’s called the motivation-reaction unit, often referred to as MRU.
What in the world is a motivation-reaction unit?
Dwight Swain, in his book Techniques of the Selling Writer, introduced the concept of motivation-reaction units. With this technique, the author creates a stimulus that causes the point-of-view (POV) character to respond. That response motivates a response from the outside stimulus, and that stimulus then motivates the character to react again.
It is a basic chain reaction:
Outside Action #1 –> POV Character Reaction #1
POV Character Reaction #1 –> Outside Action #2
Outside Action #2 –> POV Character Reaction #2
etc, etc, etc
Why does it work?
Although this technique is deceptively simple, it dives for the heart of writing fiction: show don’t tell. MRUs force the author to think about one action at a time. Something happens. How does the POV character respond? What kind of response does that get from the person or thing which motivated the character to act? It’s virtually impossible to tell a story this way because MRUs focus so much on the action.
That doesn’t mean that an author never gives information to the readers, it just encourages the author to get it across as a part of a response to the motivation. In other words, it only comes out when it is needed and where it fits in naturally.
Let’s dissect a snippet from Conspiracy, the second book in my Fast Track Thrillers series to see how MRUs work:
“Cameron! What are you doing here?” Joanne stared at him like he was a ghost from a different life. Her eyes narrowed as she examined him. “How did you find me? And why?”
Not exactly the welcome he expected, but he had a job to do. He put on his most reassuring smile. “I work for the NSA. Finding a law-abiding citizen is a piece of cake compared to most of the work we do.”
“Finding me is not a piece of cake.” She pointed the spoon in her hand at him. “How did you do it?”
“The money trail. You have to get paid, so we followed the money.”
“And what could possibly be so important to make you go through the trouble to find someone who doesn’t want to be found?” Her gaze bored into him.
“Well, uh, it’s rather sensitive information. And you might want to sit down for it. It’s…it will be a shock.”
First Unit:
MOTIVATION #1 (outside action)
Joanne’s shock at seeing Cameron on her doorstep.
(This actually includes two actions: the shock and eyeing him with suspicion.)
(internal)
REACTION #1 (POV character response)
Cameron tries to defuse the unexpected response my making things light.
(This includes a bit of information as a part of Cameron’s thoughts: the fact that he didn’t expect this response and the fact that he’s doing his job.)
The reaction causes another outside motivation action.
Second Unit:
MOTIVATION #2
Joanne insists that Cameron answer her question.
(Another bit of information is slid in here as a part of the conversation—the fact that she’s not easy to find.)
REACTION #2
Cameron answers her question.
The reaction causes another outside motivation action.
Third Unit:
MOTIVATION #3
Joanne continues to interrogate Cameron.
(Her response also weaves in some additional information: the fact that she doesn’t want to be found.)
REACTION #3
The intensity of Joanne’s reaction to his presence finally gets to Cameron and he stutters out another response to her questioning.
A simple chain reaction, but it effectively plays out the interaction between these two characters in a way that readers can see and feel, which draws them further into the story and keeps them wanting to turn the page to find out what happens next.
It seems too easy!
Yes, it’s a simple concept. But it’s a new way of thinking about writing. As with any other new technique, it takes time and practice to get the hang of it. To begin with, it is a time-consuming, awkward process. Eventually, however, it becomes a habit that rarely needs to be thought about.
Still seems too easy?
I thought so too when I first read about MRUs in Randy Ingermanson’s article Writing the Perfect Scene. In the article, Randy challenged his readers to try it. So I did…although only to prove that it couldn’t possibly make such a big difference. Boy, was I wrong! When I read back the scene I’d rewritten using MRUs, it blew me away. The difference was staggering, and after much practice, it truly transformed my writing.
So I issue the challenge to you. Give it a try! Let me know what you think.