A Quote by Elena Ferrante

Those who write need that "willing suspension of disbelief ", as Coleridge called it. — © Elena Ferrante
Those who write need that "willing suspension of disbelief ", as Coleridge called it.
I prefer to think of faith, as Coleridge says of poetry, not as the taking up of belief but as "the willing suspension of disbelief". . . a willingness to be open, to explore, to investigate.
It is now life and not art that requires the willing suspension of disbelief.
That willing suspension of disbelief for the moment, which constitutes poetic faith.
When it comes to acting, people talk about the suspension of disbelief that you ask of the audience. Before that starts, you have to, as an actor, suspend your own disbelief.
We've suspended the willing suspension of disbelief. We have given up that relationship, that almost hypnotic engagement, with the characters up on the screen.
Indeed, Rusbridger has finessed for the Guardian a certain willing suspension of disbelief and is able to credibly maintain conceits and moral standards to which his own behaviour hardly conforms.
The generation of atmosphere, the aura of the uncanny, is one of the most important secrets of magic. It contributes to the willing suspension of disbelief, the feeling that, within the circle, or in the presence of the magical shrine, anything may happen.
There should be a name for this, for the process whereby one knows one is being yanked and concedes it has been done successfully - that one is grateful to have been spun. In the theater, it is called the willing suspension of disbelief. That's what allows the play to make an impact on the audience: they have to be able to make believe that what's happening on the stage is really happening. Maybe to a degree it is a requirement for all political participation, all effective political communication, too.
I'm a very skeptical guy: my willing suspension of disbelief doesn't go very far when I'm reading other people's SF, and it goes even less far when I'm writing my own.
[Science fiction is] that class of prose narrative treating of a situation that could not arise in the world we know, but which is hypothesised on the basis of some innovation in science or technology, or pseudo-science or pseudo-technology, whether human or extra-terrestrial in origin. It is distinguished from pure fantasy by its need to achieve verisimilitude and win the 'willing suspension of disbelief' through scientific plausibility.
What do you know? Haven't you heard of suspension of disbelief?
I think, as a coach, you have to be willing to do what's best for the player. And you say what's best for the player: is it better to give him a game suspension, three-game suspension, no suspension. I think each case may be different in that.
I guess love is the real suspension of disbelief.
I co-edited an anthology called Interfictions with Delia Sherman and wrote a short scholarly book on three women poets called Voices from Fairyland: The Fantastical Poems of Mary Coleridge, Charlotte Mew, and Sylvia Townsend Warner. So I've been busy, but I haven't had time to write a novel.
The stage is suspension of disbelief. Film is a literal medium.
Cinema, which demands suspension of disbelief, is an increasingly naive proposition.
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