NVO & MRU vs. TL;DR
In the post-attention span era, scribbling pages that lower the barrier of entry and get folks turning pages is more important than ever.
After decades of “director-proofing” my scripts for TV, I’ found my pages overloaded with text. Time to revisit my feature script roots.
Like many scribblers of the early 90s, my style was heavily influenced by the work of Walter Hill and Shane Black. As an NYU film student pre-internet, I’d buy their scripts from a sketchy dude on the street in SoHo. Yup. While others were chasing drugs in Alphabet City, I was buying bootleg screenplays. Nerd-alert.
Reading Hill and Black scripts was like watching their movies. Hill had white-space-heavy pages with concise and compelling prose. Shane was always funny and not afraid to break the fourth wall.
Two powerful techniques that helped them achieve this balance are Noun-Verb-Object (NVO) and the Motivation-Reaction Unit (MRU).
Noun-Verb-Object (NVO) is a basic sentence structure that focuses on clear, direct action. It’s made up of three elements:
Noun: The subject performing the action.
Verb: The action being performed.
Object: The recipient of the action.
Example: “The car skids.”
Keeps the writing concise and the action immediate, which is particularly effective in fast-paced scenes.
Motivation-Reaction Unit (MRU) explores a character’s response to external stimuli. It’s broken down into:
Motivation: An external event or stimulus.
Reaction: The character’s response, typically in this order:
Feeling: The internal, emotional reaction.
Reflex: An involuntary physical response.
Rational Action: A conscious decision and action.
Example:
Motivation: "A gunshot rings out."
Reaction:
Feeling: John’s heart races.
Reflex: He ducks.
Rational Action: He reaches for his weapon.
NVO + MRU: A Dynamic Duo
Combining the screenwriting techniques of Noun-Verb-Object (NVO) and Motivation-Reaction Unit (MRU) with the distinctive styles of Walter Hill and Shane Black can create a potent mix of minimalism, rhythm, and vivid characterization.
Walter Hill: Minimalist Power with NVO + MRU
Hill’s style famously strips action and dialogue down to their barest essentials. His prose rolls down the page, not margin to margin. NVO aligns perfectly with his approach, where every word carries weight, and the focus is on visual storytelling.
The Driver
NVO Structure: "The car skids. Tires screech. Lights flash."
MRU Structure:
Motivation: "The car skids."
Reaction:Feeling: The Driver’s pulse quickens.
Reflex: He tightens his grip on the wheel.
Rational Action: He accelerates, eyes scanning the road.
The NVO action unfolds with precision. MRU deepens this by showing how The Driver processes these high-stakes moments. The combo ensures the visuals and the character’s internal experience are conveyed with clarity and impact.
Hill’s Minimalism in Action:
Sparse Action Lines: Hill’s lines are short and punchy, creating a rhythmic pace that matches the tension of the scene.
Example: "The car moves. Fast. Another corner. Harder still."
Economical Character Descriptions: Hill introduces characters in a way that’s direct, capturing their essence quickly with NVO.
Example: "DRIVER. Mid-30s. Cold eyes."
Rhythmic Formatting: Hill’s short paragraphs and line breaks, coupled with NVO, control the reader’s pace and build tension.
Example: "The street. Empty. The sound of footsteps. Closer. A shadow appears."
Shane Black: Vivid Characters with NVO + MRU
Black’s style is sharp, with witty dialogue and colorful character descriptions. Unlike Hill, he’s not afraid of a massive text block. NVO adds punch to action. MRU allows for a deeper exploration of character reactions, often with a humorous twist.
Lethal Weapon
NVO Structure: "Riggs shoots. Glass shatters. The thug drops."
MRU Structure:
Motivation: "Riggs shoots."
Reaction:Feeling: Riggs feels a rush of adrenaline.
Reflex: He ducks behind cover.
Rational Action: He checks the chamber, ready for the next shot.
Black’s writing feels immediate and character-driven.
Black’s Vivid Storytelling in Action:
Punchy Action Lines: Black uses NVO to make action lines snappy and visual, often injecting humor or surprise.
Example: "BOOM. The door explodes. Riggs rolls in, gun blazing."
Colorful Character Descriptions: Black uses NVO to craft memorable character introductions that go beyond mere appearance.
Example: "MURTAUGH. Late 40s. Grizzled. Pissed off. But still dangerous."
Witty Dialogue and MRU: Black’s dialogue often follows NVO, with MRU capturing the characters’ internal reactions.
Example:
Motivation: "Riggs lights a cigarette."
Reaction:Feeling: Murtaugh’s annoyance flares.
Reflex: He snatches the cigarette away.
Rational Action: He growls, "Not in my car."
Other Masters of NVO + MRU
Quentin Tarantino: Pulp Fiction
Tarantino blends NVO with MRU to build tension and character dynamics.
Example:
NVO: "Jules raises his gun. The room falls silent."
MRU:
Motivation: "Jules raises his gun."
Reaction:Feeling: Brett’s fear spikes.
Reflex: He flinches, eyes wide.
Rational Action: He stammers, "Please, don’t shoot."
Christopher Nolan: Inception
Nolan’s narratives benefit from clear NVO structure in action scenes, paired with MRU to explore characters’ psychological responses.
Example:
NVO: "The hallway rotates. Arthur fights to stay upright."
MRU:
Motivation: "The hallway rotates."
Reaction:Feeling: Arthur’s focus sharpens.
Reflex: He braces himself against the wall.
Rational Action: He leaps, uses momentum to throw a punch.
The NVO + MRU Combo
Walter Hill’s minimalist style benefits from the directness of NVO, while Shane Black’s vivid storytelling shines when paired with MRU.
By studying these masters, you can refine your own screenwriting, making it lean, dynamic, and deeply engaging.
Whether you’re writing a tense action sequence or a character-driven drama, the NVO + MRU combination can elevate your storytelling and potentially make your screenplays something that people actually read.
Check out this screenshot from Hill’s The Driver script:
