Post by account_disabled on Dec 10, 2023 22:34:45 GMT -5
In some examples read online we talk about what the reader accepts as true. Reading a Sherlock Holmes story we accept as true that there was a murder case in London. Reading a Tarzan adventure we take it as true that in the jungle there is a man who wants to kidnap his son. In this case I would not define this acceptance as suspension of disbelief, because it is implicit in the story itself that, since it is fiction and not journalistic reporting, these are invented events.
The problem, if anything, is in the figures of Sherlock Holmes and Tarzan, who are certainly not characters who go unnoticed, they have characteristics that are out of the ordinary. But if they had been ordinary, there wouldn't Phone Number Dataeven have been a story. The reader's acceptance, therefore, depends on macroscopic elements within the story: a man with highly developed deductive faculties; a man raised by monkeys. These elements must imply an enormous work of study and documentation on the part of the writer, so that he can give them strength and credibility, so that he can make them elements of an existing reality, which is not that of the reader, but is the one into which the reader must enter. The maturity of the reader The suspension of disbelief wanes as the reader evolves.
I am no longer willing to accept scenes, stories that seemed plausible to me years ago. I can no longer believe what is offered to me at the cinema or in some novels. In our lives we collect images of all kinds, we receive stimuli every day. Fiction today can no longer hide behind the suspension of disbelief, but must offer the reader a parallel reality, as realistic as it is credible. Suspension of disbelief is not like a switch the reader uses to turn off the light. We are no longer children, we have experience and culture behind us. We are greedy for knowledge. We are curious. We are observers. Today's reader represents a challenge for tomorrow's writer. We can no longer defend ourselves with the word "fiction": we must transform fiction into another, possible, credible, stable reality.
The problem, if anything, is in the figures of Sherlock Holmes and Tarzan, who are certainly not characters who go unnoticed, they have characteristics that are out of the ordinary. But if they had been ordinary, there wouldn't Phone Number Dataeven have been a story. The reader's acceptance, therefore, depends on macroscopic elements within the story: a man with highly developed deductive faculties; a man raised by monkeys. These elements must imply an enormous work of study and documentation on the part of the writer, so that he can give them strength and credibility, so that he can make them elements of an existing reality, which is not that of the reader, but is the one into which the reader must enter. The maturity of the reader The suspension of disbelief wanes as the reader evolves.
I am no longer willing to accept scenes, stories that seemed plausible to me years ago. I can no longer believe what is offered to me at the cinema or in some novels. In our lives we collect images of all kinds, we receive stimuli every day. Fiction today can no longer hide behind the suspension of disbelief, but must offer the reader a parallel reality, as realistic as it is credible. Suspension of disbelief is not like a switch the reader uses to turn off the light. We are no longer children, we have experience and culture behind us. We are greedy for knowledge. We are curious. We are observers. Today's reader represents a challenge for tomorrow's writer. We can no longer defend ourselves with the word "fiction": we must transform fiction into another, possible, credible, stable reality.