Willing suspension of disbelief is a term coined by Samuel Taylor Coleridge. It would mean suspend one's critical faculties and believe the unbelievable; sacrifice of realism and logic for the sake of judgement.

4. Willing suspension of
disbelief is important as it is a
psychological or mental
process that readers and
writers use to shift between
words on the page and the
reality.

5. Samuel Taylor Coleridge (1772-1834), the English critic
and poet, described aesthetic illusion as the product of a
“willing suspension of disbelief for the moment, which
constitutes poetic faith.” The logic of the imagination
provides a basis for the fluid continuity of conscious
experience. In our experimental art work, we have found
that viewers and readers can develop deep relationships
with texts, artworks, and industrial design objects. People
can feel a personal relationship with creative works, see
them as an expression of their identities, or as
embodiments of idealized social values and messages.
Encounters with artworks can simulate reflections about
personal growth and encourage people to come to terms
with their personal or collective histories. In for meaning,
people encounter not just the artists but themselves.

12. In this idea originated the plan of the 'Lyrical
Ballads'; in which it was agreed, that my
endeavours should be directed to persons and
characters supernatural, or at least romantic, yet
so as to transfer from our inward nature a human
interest and a semblance of truth sufficient to
procure for these shadows of imagination that
willing suspension of disbelief for the moment,
which constitutes poetic faith."

13. Coleridge coined the phrase in his Biographia Literaria, published in 1817, in
the context of the creation and reading of poetry .Chapter XIV describes the
preparation with Wordsworth for their revolutionary collaboration Lyrical
Ballads (first edition 1798), for which Coleridge had contributed the more
romantic, gothic pieces including The Rime of the Ancient Mariner. Poetry
and fiction involving the supernatural had gone out of fashion to a large
extent in the 18th century, in part due to the declining belief in witches and
other supernatural agents among the educated classes, who embraced the
rational approach to the world of the creation and reading of poetry.
Chapter XIV describes the preparations offered by the new
science. Alexander Pope notably, felt the need to explain and justify his use of
elemental spirits in The Rape of the Lock, one of the few English poems of the
century that invoked the supernatural. Coleridge wished to revive the use of
fantastic elements in poetry. The concept of "willing suspension of disbelief"
explained how a modern, enlightened audience might continue to enjoy such
types of story.

14. Suspension of disbelief is often applicable to
fictional works of the action, comedy, fantasy, and
horror genres. Cognitive estrangement in fiction
involves using a person's ignorance or lack of
knowledge to promote suspension of disbelief.
The suspension of disbelief in fiction is a powerful
psychological development that is creative and
interactive. Unlike a painting, we can apply our
own working mental references and
understanding to a text. This makes writing highly
subjective.

15. When he speaks of "suspension of disbelief for the
moment," he is speaking of the fact that while not everyone
may believe in the supernatural under every normal
circumstance, he wrote his poems in such a way that a
reader "suspends" disbelief, meaning refrains from
concluding that the content is unbelievable, which in
simple terms only means that he wrote his poems in such
as a way as they might seem believable.

16. He wrote his supernatural poems in a way that they would
be believable for the reader and able to evoke genuine
emotions in the reader.
Coleridge lists The Rime of the Ancient Mariner, "The Dark Ladie,"
and "Christabel" as his examples of romantic, supernatural poetry.
He used supernatural element to enable readers to feel the
emotions the symbols evoke and find the tale believable in the
sense that the reader can relate to experiencing the
supernatural.

18. Samuel Taylor Coleridge called drama "that willing
suspension of disbelief for the moment, which
constitutes poetic faith." When we sit in a theatre,
we willingly suspend our disbelief because we
know that everything that is happening on the
stage isn't real, but the playwright, the actors and
the audience all enter into a conspiracy "of poetic
faith" in an attempt to bring to life a quasi-reality
that transcends and communicates some
perception about life in this world.

19. Coleridge's "Rime of the Ancient Mariner“ stands as a fine example in
which the reader (along with the targeted Wedding Guest of the poem)
must accept the Ancient Mariner's tale at face value and assume the old
man is telling the truth about his experiences. Coleridge builds this
"willing suspension of disbelief" by beginning the Mariner's tale in
familiar territory-a ship exploring the frozen wastes of the ocean-and
slowly but inexorably drawing the reader into the Mariner's more
supernatural encounters.
"Christabel" follows the same pattern, beginning with the allegedly
violated woman being rescued by the title character, but eventually paves
way to the so-called victim's malignant supernatural identity. A similar
"suspension of disbelief" occurs in modern literary genres such as
"magical realism" and horror, where the supernatural or unbelievable
elements are framed in mundane terms and possess their own internal
logic.

20. 1.www.google.com
2. Wikipedia
3.Psyc18-Psychology of Emotion Lecture 4 Professor: Gerald Cupchik
4. The meaning and origin of the expression: suspension of disbelief-
www.phrases.org.uk
5. www.enotes.com
6. Galgut, Elisa. Poetic faith and prosaic concerns. A defense of
‘suspension of disbelief’.South African Journal of Philosophy. 2002, Vol. 21
Issue 3, p190, 10p.
7. Faith & Art: Willing suspension of disbelief by Ron Samuel Jr.