When I’ve heard you speak about liminal and liminoid events I’ve also heard you talk about the third place. Can a third place often play a role in these types of events? Do you think bowling alleys are a good example of the third place? (Especially one that came and went?) If a story is trying to invent a third place, what elements must absolutely be present for it to work?
When I’ve heard you speak about liminal and liminoid events I’ve also heard you talk about the third place. Can a third place often play a role in these types of events? Do you think bowling alleys are a good example of the third place? (Especially one that came and went?) If a story is trying to invent a third place, what elements must absolutely be present for it to work?
By "third place" I assume you mean a place other than work and home. A church, for example, or a gym. The business model for Starbucks was to be the third place for people to hang out. To me the ideal third place would unite people with a mutual passion. A place where they could pursue that passion while maintaining a social circle. It would allow people to present a truer self than they can at work. I'd push you to base a third place on an activity that might occur almost anywhere -- like how the Cacophony Society held events everywhere, legal and illegal. If you tie too closely to one place you risk being bogged down in architecture and dialog. If your third place is based on action, in varied settings, your story will be more engaging.
Perfect. That gives me a good idea on how to go about creating that environment. I’m working on a social activity where the protagonist sort of introduces something and a group of people run with it and the idea is that he’s not going to fully understand what they are doing or why until the third act. If you have any thoughts or suggestions on sort of baiting the reader without overdoing it to the point of exhaustion, please let me know. Do I need to give little payouts about what’s happening along the way? Or can I just save it all up for one big landslide of realization? I’d prefer it to be a big landslide. Maybe use some misdirection as fake payouts as the story goes on?
Is there a reference site or article you'd recommend to dig into this liminal/liminoid, home/work/third place idea you both are talking about? I'm intrigued, but don't think I'm understanding how the terminology is being used. Thanks.
I completely understand, sitting for a whole movie with your back going out isn’t a fun one. You were missed, but there’s always next time. We saw Herold and Maude, it ruled. The beginning where they meet at funerals reminded me of Marla and Tyler meeting in support groups.
When I’ve heard you speak about liminal and liminoid events I’ve also heard you talk about the third place. Can a third place often play a role in these types of events? Do you think bowling alleys are a good example of the third place? (Especially one that came and went?) If a story is trying to invent a third place, what elements must absolutely be present for it to work?
By "third place" I assume you mean a place other than work and home. A church, for example, or a gym. The business model for Starbucks was to be the third place for people to hang out. To me the ideal third place would unite people with a mutual passion. A place where they could pursue that passion while maintaining a social circle. It would allow people to present a truer self than they can at work. I'd push you to base a third place on an activity that might occur almost anywhere -- like how the Cacophony Society held events everywhere, legal and illegal. If you tie too closely to one place you risk being bogged down in architecture and dialog. If your third place is based on action, in varied settings, your story will be more engaging.
Perfect. That gives me a good idea on how to go about creating that environment. I’m working on a social activity where the protagonist sort of introduces something and a group of people run with it and the idea is that he’s not going to fully understand what they are doing or why until the third act. If you have any thoughts or suggestions on sort of baiting the reader without overdoing it to the point of exhaustion, please let me know. Do I need to give little payouts about what’s happening along the way? Or can I just save it all up for one big landslide of realization? I’d prefer it to be a big landslide. Maybe use some misdirection as fake payouts as the story goes on?
Is there a reference site or article you'd recommend to dig into this liminal/liminoid, home/work/third place idea you both are talking about? I'm intrigued, but don't think I'm understanding how the terminology is being used. Thanks.
Victor Turner - The Ritual Process
Hello Oliver. Sorry I didn't make it tonight to Movie Night. My back is thrashed. Killing me.
I completely understand, sitting for a whole movie with your back going out isn’t a fun one. You were missed, but there’s always next time. We saw Herold and Maude, it ruled. The beginning where they meet at funerals reminded me of Marla and Tyler meeting in support groups.