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Diana Gabaldon

"You want to anchor the scene with physical details, but by and large it's better to use sensual details rather than overtly sexual ones."

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"You want to anchor the scene with physical details, but by and large it's better to use sensual details rather than overtly sexual ones."

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Amber Hurdle

"And it seemed at last that there were two musics progressing at one time before the seat of IlAovatar, and they were utterly at variance. The one was deep and wide ad beautiful, but slow and blended with an immeasurable sorrow from which its beauty chiefly came."

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Amber Hurdle

"The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time."

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Amber Hurdle

"The discipline of creation, be it to paint, compose, write, is an effort towards wholeness."

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Amber Hurdle

"Let music ignite your vivid inner colors and bring you harmony inside and out."

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Amber Hurdle

"I have always noticed that in portraits of really great writers the mouth is always firmly closed."

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Amber Hurdle

"A work of art has no importance whatever to society. It is only important to the individual."

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Amber Hurdle

"Rules and models destroy genius and art."

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Amber Hurdle

"The effort of art is to keep what is interesting in existence, to recreate it in the eternal."

Explore more quotes by Diana Gabaldon

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Diana Gabaldon
"I want to take ye to bed. In my bed. And I mean to spend the rest of the day thinking what to do wit ye once I got ye there. So wee Archie can just go and play at marbles with his bollucks, aye?"
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Diana Gabaldon
"I stood still, vision blurring, and in that moment, I heard my heart break. It was a small, clean sound, like the snapping of a flower's stem."
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Diana Gabaldon
"Alive, and one. We are one, and while we love, death will never touch us. 'The grave's a fine and private place/ but none, I think, do there embrace."
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Diana Gabaldon
"It's always better if they see. Then they don't imagine things. So I didn't imagine, I remembered."
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Diana Gabaldon
"I heard you went to Ireland...I haven't seen it in many years. Is it still green then, and beautiful?Wet as a bath sponge and mud to the knees but, aye, it was green enough."
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Diana Gabaldon
"This is why you use imagery when writing about sex, it's a means both of evoking immediacy and of distilling emotion."
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Diana Gabaldon
"It would ha' been a good deal easier, if ye'd only been a witch."
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Diana Gabaldon
"To see the years touch ye gives me joy", he whispered, "for it means that ye live."
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Diana Gabaldon
"The vivid memory of the woods had blossomed into a visceral longing for the Ridge, so immediate that I felt the ghost of my vanished house rise around me, a cold mountain wind thrumming past its walls, and thought that, if I reached down, I could feel Adso's soft gray fur under my fingers. I swallowed, hard."
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Diana Gabaldon
"Mid-afternoon, I'll go out and do the household errands, come home, do my gardening, go for an evening walk."
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