In writing fiction, for every
action, there must be an equal reaction.
If we write, “He caught the ball,”
we must have before that, someone throwing or batting a ball.
Example:
The
batter held steady then swung with ease, but the ball sailed over the head of
the second baseman and curved to the middle ground uncovered by the defense.
From
center field, the player ran, did a cartwheel, and scooped up the ball. The
play was a feast for the baseball-lover’s eyes.
The second paragraph (reaction)
would be incomplete without motivation (the first paragraph).
In like manner, the first paragraph
(motivation) must have the second paragraph (the reaction).
If someone pushes the button of the
point of view character, make sure that character reacts.
If someone swings a hammer and hits
your hand, I’ll guarantee, you’re going to at least say, “ouch.”
Try this exercise:
Across my path stood the biggest
brown grizzly I’d ever seen.
Write the next paragraph.
I
was given this exercise. Here’s mine.
Tiny hairs stood out on the back of my
neck. My legs froze at the same time I stopped breathing. I swooshed in some
air and yelled. “Help.”
How did you do?
The order of the motivation
and reaction.
The motivation and reaction must be
in the right order. The center fielder wouldn’t catch that ball before it was
batted his way. Neither would you yell “ouch” before the hammer struck your
hand.
The order of the reaction.
Back to the button-pushing
The
character sits on a tack.
No action
Example:
Motivation or button being pushed –
That
character reacts in this order:
1.
Feeling – The
character has no control. It just happens.
2.
Action – The
character has some control.
3.
Speech – The
character can control this.
Go back to my exercise above.
Tiny hairs stood out on the back of my
neck. My legs froze. “Help.”
Feeling – Tiny hairs
stood out on the back of my neck.
This happens without my control. I
can't stop it. The same can be said of any visceral feeling. I break out in
a sweat. My breathing becomes labored.
Action
– I froze.
Perhaps, I have
some control over this action but not much. The same can be said if I write, “I ran for camp,” or "I pulled out my knife."
Speech
– “Help.”
This, I control.
Dialogue doesn’t come without me consciously doing it.
Not only must the reaction come after the motivation, but
the reaction must come in the proper order.
You may not have all three.
No feeling
She sat on a tack. (motivation)
She jumped to her feet. (action)
She screamed. (speech)
Notice here there is no feeling. However, the action must
still come before the speech.
The bear appeared on the path. (motivation)
Tiny hairs stood out on the back of his neck. (feeling)
“Help.” (speech)
No speech
He threw the ball to right field. (motivation)
Perspiration poured from his brow. (feeling)
He slid and caught the ball. (action)
Notice that even with only 2 parts, the reaction still
comes in the proper order; feeling, action, and speech.
Of course, if your reaction is only one part, there is no
order.
Example of that:
He threw the ball to right field. (motivation)
He slid and caught the ball. (The reaction is only action,
no feeling, no speech.)
For advanced study on this topic,
go to Randy Ingermanson (the snowflake guy) He's the expert on MRUs.
Here's the link:
Two more that write effectively about MRUs are Camy Tang and Dwight Swain.
Have you checked your fiction for MRUs? What if it strengthens your novel?
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