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“Character, I think, is the single most important thing in fiction. You might read a book once for its interesting plot—but not twice.”
― Diana Gabaldon

“All right you bloody Scottish bastard, lets see how stubborn you really are.”
― Diana Gabaldon, Outlander

“I have lived through war, and lost much. I know what's worth the fight, and what is not. Honor and courage are matters of the bone, and what a man will kill for, he will sometimes die for, too. And that, O kinsman, is why a woman has broad hips; that bony basin will harbor a man and his child alike. A man's life springs from his woman's bones, and in her blood is his honor christened. For the sake of love alone, I would walk through fire again.”
― Diana Gabaldon, The Fiery Cross

“It would ha' been a good deal easier, if ye'd only been a witch.”
― Diana Gabaldon, The Exile: An Outlander Graphic Novel

“He bent and kissed me briefly, then headed for the door. Just short of it, though, he turned back.
"The, um, sperms ..." he said, a little awkwardly.
"Yes?"
"Can ye not take them out and give them decent burial or something?"
I hid my smile in my teacup.
"I'll take good care of them," I promised. "I always do, don't I?”
― Diana Gabaldon, The Fiery Cross

“And what's wrong wi' the way ye smell?' he said heatedly. 'At least ye smelt like a woman, not a damn flower garden. What d'ye think I am, a man or a bumblebee? Would ye wash yourself, Sassenach, so I can get within less than ten feet of ye?”
― Diana Gabaldon, Dragonfly in Amber

“But what I would ask of ye- when you do tell me something, let it be the truth. And I'll promise ye the same. WE have nothing now between us, save- respect, perhaps. And I think that respect has maybe room for secrets, but not for lies.”
― Diana Gabaldon, Outlander

“I talk to you as I talk to my own soul," he said, turning me to face him. He reached up and cupped my cheek, fingers light on my temple. "And Sassenach," he whispered, "Your face is my heart”
― Diana Gabaldon, Dragonfly in Amber

“If I were marooned here till it suited my overbearing, domineering, pig-headed jackass of a husband to finish risking his stupid neck, I'd use the time to see what I could spot.”
― Diana Gabaldon, Outlander

“When I asked my da how ye knew which was the right woman, he told me when the time came, I'd have no doubt. And I didn't. When I woke in the dark on the way to Leoch, with you sitting on my chest, cursing me for bleeding to death, I said to myself, "Jamie Fraser, for all ye canna see what see looks like, and for all she weighs as much as a good draught horse, this is the woman.”
― Diana Gabaldon, Outlander

“For a different woman, a different relationship, a different situation, gentleness might have been the proper, the only approach—but not for this woman, in these circumstances. The only thing that will cleanse Claire (and reassure her: look at what she says at the end of it. She feels safe again, having felt the power and violence in him) is violence. And—the most important point here—Jamie pays attention to what she wants, rather than proceeding with his own notion of how it should be, even though it’s a sensible notion and the one most people would have.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“It was an act of trust to sleep in de presence of another person. If the trust was mutual, simple sleep could bring you closer together than the joining of bodies”
― Diana Gabaldon, Outlander

“Don’t go overboard in avoiding “said.â€� Basically, “saidâ€� is the default for dialogue, and a good thing, too; it’s an invisible word that doesn’t draw attention to itself.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Watch a good movie sometime without reference to what’s happening but only with attention to how it was photographed; you’ll see the change of focus—zoom in, pan out, close-up on face, fade to black, open from above—easily. You want to do that in what you write; it’s one of the things that keep people’s eyes on the page, though they’re almost never conscious of it.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Almost everybody understands that you have to have something at stake for a story to be good.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Ayer rece durante todo el camino colina arriba, no para que te quedaras, no me parecía correcto. Rezaba para tener la fortaleza necesaria para dejar que te fueras. Dije <>, ha sido el momento mas difícil, sassenach.”
― Diana Gabaldon, Outlander

“As a rule of thumb, four consecutive lines of dialogue is about as much as you want to have without a tag.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Don’t let characters talk pointlessly—they only talk if there’s something to say.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Dialogue doesn’t take place in a vacuum. Dialogue is contradictory, in that it can either speed up or slow down a passage.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Pointing out the emotion in a scene is like laughing at your own jokes.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“If there’s true emotional content in a situation between characters, all you do is reveal it.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Just as an effective advertisement or page layout includes a lot of white space, a powerful scene requires immense restraint. Show things as simply as possible.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Jamie’s viewpoint is expressed almost entirely in metaphor: If she was broken, she would slash him with her jagged edges, reckless as a drunkard with a shattered bottle. He’s using physical language, but he isn’t talking about the physical details of the situation. Claire alludes to her emotion and shows it by her actions, but Jamie is thinking directly in pure emotions.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“This is why you use imagery when writing about sex; it’s a means both of evoking immediacy and of distilling emotion.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“One of the general patterns of good (i.e., striking and memorable) writing is the effect of repetition. If you use a certain element—a plot device, an image, a noticeable phrase—once, readers may or may not notice it consciously, but it doesn’t disturb the flow of their reading. If you use that element twice, they won’t notice it consciously—but they will notice it subconsciously, and it will add to the resonance of the writing or to their sense of depth and involvement (and if it’s a plot device, it will heighten the dramatic tension). But if you use that element three times, everybody will notice it the third time you do it.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“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…â€� We have to believe, and therefore appreciate, just what Jamie is doing when he trades what’s left of his life for Claire’s.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“But it wouldn’t have half the power of a story in which Jamie and Claire truly conquer real evil and thus show what real love is. Real love has real costs—and they’re worth it. I’ve always said all my books have a shape, and Outlander’s internal geometry consists of three slightly overlapping triangles. The apex of each triangle is one of the three emotional climaxes of the book: 1) when Claire makes her wrenching choice at the stones and stays with Jamie, 2) when she saves Jamie from Wentworth, and 3) when she saves his soul at the abbey. It would still be a good story if I’d had only 1 and 2—but (see above), the Rule of Three. A story that goes one, two, three, has a lot more impact than just a one–two punch.”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“To some extent, emotions are universal and can be treated that way; no matter what the participantsâ€� 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”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“Men have external genitalia, while women have internal genitalia. This simple difference makes a lot of difference in how they write about themselves—and how you might write about your characters. Male writers don’t often address internal sensation in a character, because they don’t experience it (and probably often don’t realize consciously that it’s there). This accounts for a lot of Really Terrible sex scenes written by men (if you look at the “Bad Sex-Scene Awardsâ€� in any given year, you’ll see that the vast majority are done by male writers).”
― Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

“It’s . . . it’s like . . . I think it’s as though everyone has a small place inside themselves, maybe, a private bit that they keep to themselves. It’s like a little fortress where the most private parts of you lives - maybe it’s your soul, maybe just that bit that makes you yourself and not anyone else.â€� His tongue probed his swollen lip unconsciously as he thought.

‘You don’t show that bit of yourself to anyone, usually, unless sometimes to someone that ye love greatly.â€� The hand relaxed curling around my knee. Jamie’s eyes were closed again, lids sealed against the night.”
― Diana Gabaldon, Outlander