With two narrators experiencing different facets of island life, the reader is able to encounter a fully realized fictional world that feels physically present to them. Not only does the reader encounter a multitude of characters via the interactions of the two narrators, but there is also a great deal of motor resonance that occurs based on the descriptions of transitive movements surrounding Puck and Sean's experience of riding the capaill uisce, the water horses, which come out of the sea to visit the island of Thisby in October and November, when the Scorpion Races take place. Passages that involve their driving include sensory details about the sensation of the horse moving beneath Puck or tactile descriptions of the feel of the horse's mane between Sean's fingers as he weaves braids into the horse's hair. water to calm him down. The reader is able to really latch on to the story because of these details, and even a reader with little riding experience has enough detail to imagine themselves in an embodied way. Stiefvater's worldbuilding techniques are vitally important in allowing the reader to truly experience the island as if it were a real place that they could encounter in a physically present way in real life. Although it seems that a simple detail or gesture can be of tiny importance in a story, even though it may be true in terms of plot, these details are minimal clues that prompt the reader to imagine a larger reality surrounding this unique event. Puck mentions, “Grattion's is an explosion of sound, with people spilling out into the boardwalk. I have to fight my way through the door... Inside, the place is bustling and a twisted line goes around the wall. The ceiling looks low and cluttered with its middle of paper exposed......hook, it doesn't mean anything to anyone else” (Maggie Stiefvater website). It is the combination of narrative world-building techniques and shifting narration that launches the reader into the world of Thisby where the reader is immersed in the tension leading up to the races and the need to encounter more of the story surrounding the vicious. , beautiful water horses. However, ultimately it is emotional truth, the reader's ability to have theory of mind, that allows them to empathize and understand the reader. It's the engaging personalities and tangled motivations of Puck and Sean that allow the narrative to hook its claws on the reader, after which the first-person point of view, overall sensory detail, and emphasis on movement transitive encourage the reader to create an embodied simulation of Sean. and Puck's experiments.