There's an element in fiction where what's happening must stand a test of whether or not the reader can suspend their disbelief in order to be included; however, I've come to realize this suspension of disbelief depends on many things including the reader's own life experience, or lack thereof. It's easier to get someone who has no experience in a field to believe something because they don't have the background to question it with authority.
This tightrope between creating realistic scenes and sending the message of the work is one writers must walk constantly. It's that line that gives a reader permission to suspend their disbelief and accept the scene that while technically isn't realistic gives the drama, the meaning, the purpose, the heart to the story. It's often in these pivotal scenes that reality and fantasy blur but the story reaches a different level.
At the time I was struggling with reconciling some feedback on some short stories I was editing for inclusion in my book, Take a Chance & Other Stories of Starting Over. Much of the feedback was quite informative, but a few things felt stifling in that the suggested changes felt like they might result in too much effect on my voice as a writer and on my characters' experiences. As I read Wilkinson's interview, I felt a sense of liberation in the reminder that my work is my work, and I need to adhere to the message of my work regardless of how the rest of the world receives it. That's hard because I want people to buy my work, read my work, and enjoy my work, but I also want to be true to myself, my life experiences, and the characters I create. I want people to read my books, and to say that suspending their disbelief was worth it.