What in the World is an MRU?

Let’s digress from our study of emotion this time and talk about motivation reaction units (MRUs). The first time I heard these explained was by Randy Ingermanson, creator of the Snowflake Method. He read about them in Dwight V. Swain’s classic. Techniques of the Selling Writer, which is available on Amazon.com.

 So what is a motivation-reaction-unit? An MRU is the fundamental grouping of words that form a story.

 The first component of the MRU is a sentence or several sentences which comprise a cause. The cause is something the reader can see. It is totally outside of the point-of-view (POV) character, and can be anything tangible or intangible, conscious or unconscious that stimulates a change in the character. Neither the POV’s name nor pronouns that refer to him may appear in this part of the MRU.

The paragraph that follows contains the second half of the MRU. It is a sentence or group of sentences that show the effect of the stimulus. It is about the POV character and shows the change in his behavior or state of mind in response to the motivating stimulus.

The following is an excerpt from the prologue of my novel Kokoweef, which may be accessed by clicking the tab under the banner. I’ve labeled the alternating pattern of motivation and reaction. Notice that the motivating sentences are completely outside the POV. Also note how the stimulus produces a change in the POV that moves the story along

 The soldiers assumed their posts. Commander Lucifer positioned himself on high ground opposite the wormhole, his generals at his sides.  [MOTIVATION]

 Malum drew his swords. With Michael and his army vanquished, what would Lord Lucifer do next? Attack High Heaven? It had been eons since the Enemy cast them out. A victorious return would be joyous.   [REACTION]

 The wormhole rumbled, and Lucifer raised his hands.   [MOTIVATION]

 Malum’s swords shook. Steady. Only moments until Lucifer signals to attack. [REACTION]

 A low whine grumbled in the passage.  [MOTIVATION]

 Malum tightened his grips.   [REACTION]

 The noise rose in pitch and volume. The tunnel’s crystalline walls vibrated.  [MOTIVATION]

 He swallowed, and his breaths quickened. The surface on which he stood rolled and swayed. He fought for traction then furrowed his brows. Something was wrong. The resonance frequency had changed. An operational wormhole never made that high, warbling sound. What was Michael up to?  [REACTION]

 Fire roared from the wormhole and incinerated several soldiers. The tunnel warped. Squealed. Folded inward. In a blink, it disappeared.  [MOTIVATION]

 Malum cursed, and turned his attention to Lucifer.  [REACTION]

 Rage contorted the commander’s faces. He bellowed and lashed out with his swords. The heads of his generals rolled down slope to Malum’s feet.  [MOTIVATION]

 His hearts lurched.  [REACTION]

 

So why are the MRUs important? They provide the momentum that moves the story along. Strings of MRUs form scenes and sequences. Alternating scenes and sequences then produce the story pattern.—Quinn

Make Your Story Seem Real

We have covered some of the basics of character development, so let’s look at writing your story. The cardinal rule is Show Don’t Tell. It is easiest to explain with an example. The following scene is from a work in progress, the sequel to my novel Kokoweef. Physics assistant professor Dr. Nightingale Nox, a Savant, was mugged. The main character, Skip Jackson, scared off the attacker and took Night to the hospital. The following is the scene as it would appear if it was told.

After Skip gave a report to the policeman, he left Bethany and Sarah in the waiting room, and intercepted the ER doctor. The doctor told Skip that Night was in no danger, his wound had been stitched, and he would be released as soon as his guardian arrived. Night, however, was convinced he was dying, and Skip could not convince him otherwise.

Now I will show the scene.

Skip finished reciting his account of the assault to a policeman, left Bethany and Sarah sitting on the waiting room chairs, and hurried to intercept the ER doctor. “How’s Night doing, doctor?”

The man consulted his clipboard. “Are you Mr. Nox’s guardian?”

“No, I’m Skip Jackson. I rescued Night from the attacker. I called his guardian, and he should be here shortly.”

“Mr. Nox is in no danger. I stitched his wound. He appears a bit . . . disoriented. But that should pass quickly. I’ll release him to his guardian as soon as he gets here.”

Tension melted from Skip’s jaw muscles. He smiled. “Night’s always disoriented. He’s a high-functioning autistic Savant. He can tell you more than you’d like to know about string theory, Tesla, and space aliens, but everyday stuff.” He cleared his throat.

“I see. You can go in.” The doctor scribbled something on the chart and moved on to another cubical.

Skip ducked around the curtain surrounding Night’s gurney. “Hey, bro. How you feeling?’

“My head hurts. I’m going to die.”

“Not going to happen. Ask the doctor for something to stop the pain.”

“There was blood. Lot’s and lot’s of blood. You saw the blood. I’m going to die.”

Skip sighed. When the guy got an idea in his head, it was hard to shake it. “No, you’re not going to die. When your guardian gets here, you’re going home.”

“People don’t tell people when they’re going to die. I think they should tell people when they’re going to die. Don’t you think people should tell people when they’re going to die? Gramma said if I was good, I’d go to heaven. But, I’ve been so bad. I won’t go to heaven.” His face puckered. “I don’t want to die.”

Why can’t people stop scaring their kids with fairy tales about angels and devils, heaven and hell? “Night, stop it. You are not going to die. You’re going home.”

“When Gramma was dying, she said she was going home. But she never came, and I never saw her again.”

“If there is a heaven, I’m sure you’re going there. But, not for a long, long, long time.”

“But you would say that if the doctor told you I was dying.”

“He didn’t tell me you were dying. He said he was going to release you soon.”

Night’s face blanched. “Grampa said he was going to release old Smokey. Then he shot him.”

“You are not a horse.”

The professor began moaning soulful moans. “He took him behind the barn and shot him.”

“Night, you’re giving me a headache.”

There are instances in which telling is appropriate. Mainly it is used for summary or scene setting. But too much showing slows the action and takes the reader out of the story. As seen above, though showing the story takes more words it is richer and allows the reader to feel he is an inside observer.—Quinn

Do You Have an Article in Mind?

After I graduated to the empty-nest phase of my life, I decided to write fiction. You, however, might prefer non- fiction. Articles are a good place to start, and you have a vast store of experience to draw from. People contemplating home education might benefit from a how-to article. Moms in the April doldrums might be uplifted with a humorous story or encouraged by how you handled similar circumstances.

As with story, articles have structure. A beginning, middle, and an end. In addition, they often include sidebars that contain tidbits that don’t fit into the story but add to interest, provide further information, or answer frequently asked questions.

The beginning is the opening paragraph or paragraphs, often called the hook. It is supposed to grab the readers’ attention and pique their curiosity. To avoid sounding preachy or like an encyclopedia, use a conversational voice and incorporate dialogue, description, or a bit of action.

The middle is the main part of your article. If the story is about something that happened, write chronologically. If it informational, supply details for the topic mentioned in the opening. You can show cause and effect, comparison and contrast. Embellish with quotes, anecdotes, and opposing points of view.

The ending can be a logical conclusion such as the finished product in a how-to article or the end of a journey in a travel article. You can also end with practical suggestions, an invitation to further exploration, or with a request for a new conclusion. As I am about to do, you may also return to your beginning paragraph with a slightly different focus.

If you are a serious writer there is one thing that might steer you toward non-fiction. It pays better. Much better. First, you’ll want to find a market that features your type of article. Many public libraries have directories of periodicals in their reference section. Look up a magazine that fits your story and follow their submission guidelines. A very popular guide is Writer’s Market, published by Writer’s Digest. Sally E. Stuart produces the Christian Writers Market Guide that lists periodicals covering everything from apologetics to youth issues. Both are available on Amazon.—Quinn