In this episode, Jeff sits down with members of the Dialogue Doctor community to analyze the Coen brothers’ movie The Big Lebowski. In the episode, they discuss writing character’s who don’t change, how anchors work, using symbolic parallels, and juggling multiple conversations at one time.
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The discussion of The Big Lebowski centers on how the Coen brothers utilize unconventional storytelling techniques to prioritize character over plot. The following teaching points offer specific insights for writers:
The Unnecessary Nature of Plot
One of the primary lessons is that a story can remain engaging even if the plot is largely inconsequential to the protagonist. In The Big Lebowski, a complex linear plot involving kidnapping, embezzlement, and pornography happens around the protagonist, the Dude. However, the Dude has almost no agency and his actions have no impact on the resolution of these events; the story essentially “moves on without him”. Writers can learn that plot is often a crutch, and readers will remain invested if they fall in love with a character’s emotional journey even in the absence of a traditional driving force.
Managing Flat Character Growth
The Dude is a prime example of a flat character who does not change. In such stories, the writer creates tension by starting the character at their “best version” (in this case, “abiding” and at peace) and then using hazard characters to pull them toward their “worst version” (stressed, alone, and cynical).
- The Anchor Dynamic: The movie’s emotional heart is the relationship between the Dude and his friend Walter, who acts as an anchor. The Dude’s struggle is not about changing his personality, but about rejecting the anchor’s influence to return to his baseline state of “abiding”.
- Symbolic Parallels: To illustrate internal growth in a flat arc, writers can use external symbols. In the film, the continual destruction of the Dude’s car and his shifting hallucinations (from flying happily to being chased by nihilists) serve as parallels for his downward emotional trajectory.
Juggling Multiple Conversations
The Coen brothers are noted for writing scenes where three or more characters discuss different topics at the same time.
- Technique for Levity: This “juggling” of topics—where one character might be a topic behind while another is an “interrupter”—creates realism and emotional levity.
- Emotional Depth vs. Speed: While this technique is excellent for humor and light scenes, it is “bad for emotional depth”. For scenes requiring deep saturation, writers should instead use longer segments that sustain a single emotional tone.
The Strategic Third-Party Narrator
The film utilizes an unnamed third-party narrator (The Stranger) who appears at pivotal moments to set the tone and perspective.
- Setting the Lens: This narrator explicitly tells the audience that the purpose of the story is to be entertained by the Dude, effectively giving the reader permission to ignore the complexities of the plot and focus on character.
- Voice and Perspective: For novelists, this type of vehicle is a powerful tool for tying together stories that are more about the characters we live with than following standard genre beats.
Engines vs. Anchors in Cast Construction
Writers are encouraged to identify which characters in their cast act as “engines” (those who help the lead become their best self) and “anchors” (those who pull the lead down). In this film, while Walter is a dominant anchor, characters like Maude or Donnie act as engines that provide brief “uplifts”. Understanding these dynamics allows a writer to force character interaction and drive the emotional story even when the external plot feels random.