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Diana Gabaldon

"He was dead. However, his nose throbbed painfully, which he thought odd in the circumstances."

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"He was dead. However, his nose throbbed painfully, which he thought odd in the circumstances."

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Amber Hurdle

"It was an odd situation. For a century and a half, men got rid of their own hair, which was perfectly comfortable, and instead covered their heads with something foreign and uncomfortable. Very often it was actually their own hair made into a wig. People who couldn't afford wigs tried to make their hair look like a wig."

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Amber Hurdle

"The concept of absurdity is something I'm attracted to."

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Amber Hurdle

"Last night somebody broke into my apartment and replaced everything with exact duplicates... When I pointed it out to my roommate, he said, 'Do I know you?"

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Amber Hurdle

"Dangerous as a lightning strike, as lethal as a pair of crisscrossing short swords, William whispered, "You're about to find out how your liver tastes, my friend."I have tasted it already, Zacharel said, his voice its usual monotone. The snowflakes began to fall in earnest, tiny at first, but growing in diameter. An arctic wind blustered around him. "It was a bit salty.How the hell was a guy supposed to respond to that?Apparently William didn't know, either, because he gaped at the angel. Then, "Maybe if you added a little pepper?O-kay. It was official. William had an answer for everything."

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Amber Hurdle

"Bursar?"Yes, Archchancellor?"You ain't a member of some secret society or somethin', are you?"Me? No, Archchancellor."Then it'd be a damn good idea to take your underpants off your head."

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Amber Hurdle

"Who shall I shoot? You choose. Now, listen very carefully: where's your coffee? You've got coffee, haven't you? C'mon, everyone's got coffee! Spill the beans!"

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Amber Hurdle

"This is wonderful, wonderful! Be the bird. You are the bird. Sacrifice yourself to abandoned family values...."

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Amber Hurdle

"If we loved Steve Aylett, really loved him in the way that he deserves, a selfless love that genuinely wanted nothing save his happiness and comfort, we'd lobotomise him."

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Amber Hurdle

"Flowers are evil, because they live just to die for the love of other people. You don't believe me? Try it for yourself and see if you'll be good afterwards. Undeath is a way of life, for some things. That doesn't make it good or anything. Especially anything. Nothing makes anything anything. Because nothing is a serious matter, and anything just is."

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Amber Hurdle

"What's with the serum?"I don't know, but it sounds ominous. We better put a telepathic direction finder on Benway. The man's not to be trusted. Might do almost anything...Turn a massacre into a sex orgy..."Or a joke."Precisely. Arty type...No principles..."

Explore more quotes by Diana Gabaldon

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Diana Gabaldon
"At the best of times, Father Bain's face resembled a clenched fist."
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Diana Gabaldon
"Brave' covers everything from complete insanity and bloody disregard of other people's lives - generals tend to go in for that sort - to drunkenness, foolhardiness, and outright idiocy - to the sort of thing that will make a man sweat and tremble and throw up . . . and go and do what he thinks he has to do anyway."
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Diana Gabaldon
"There were moments, of course. Those small spaces in time, too soon gone, when everything seems to stand still, and existence is balanced on a perfect point, like the moment of change between the dark and the light, and when both and neither surround you."
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Diana Gabaldon
"For where all love is, the speaking is unnecessary."
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Diana Gabaldon
"You're beautiful to me, Jamie, I said softly, at last. "So beautiful, you break my heart."
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Diana Gabaldon
"Intimacy and romance are not synonymous."
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Diana Gabaldon
"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."
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Diana Gabaldon
"You don't need to know the purpose as you write, but when you read over something you've written, you should be able to point to any given element-be that a line of dialogue, a descriptive phrase, a plot point-and say why it's there."
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Diana Gabaldon
"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."
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Diana Gabaldon
"I put back my head, looking up at the deep black sky swimming with hot stars. If you knew they were really balls of flaming gas, you could imagine them as Van Gogh saw them, without difficulty . . . and looking into that illuminated void, you understood why people have always looked up into the sky when talking to God. You need to feel the immensity of something very much bigger than yourself, and there it is - immeasurably vast, and always near at hand. Covering you."
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