43 Quotes About Diana-gabaldon

Conflict and character are the heart of good fiction, and good mystery has both of those in spades.

It would ha' been a good deal easier, if ye'd only been a witch.

Okay. This has to be a credible threat. Ergo, we have to have seen (and heard about) the real damage Randall has done to Jamie thus far; we have to be in no doubt whatever that he’d do real damage to Claire. We can’t just say, “Oh, he’s such a nasty person, you wouldn’t believe…” We have to believe, and therefore appreciate, just what Jamie is doing when he trades what’s left of his life for Claire’s.

To some extent, emotions are universal and can be treated that way; no matter what the participants’ orientation or preference, they have sex for the same reasons and can experience the same array of emotions in the process. But there are three important distinctions to be made: 1. The logistics of physiology 2. The basics of sexual attraction 3. Cultural impact on character and situation

Good sex scene is about the exchange of emotions, not bodily fluids

There’s a little trick called the Rule of Three: if you use any three of the five senses, it will make the scene immediately three-dimensional.

It’s not what’s happened or what’s about to happen; what’s important is the sense of emotional uncertainty between the characters and the delicacy of the mutual trust being established.

If you can’t look a line of dialogue in the face and say exactly why it’s there—take it out or change it.

Don’t go overboard in avoiding “said.” Basically, “said” is the default for dialogue, and a good thing, too; it’s an invisible word that doesn’t draw attention to itself.