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Diana Gabaldon

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

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

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Amber Hurdle

"Behind you, leave your enemies. Beside you, keep your family. Around you, maintain your friends. Within you, cherish God."

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Personal Development

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Amber Hurdle

"Ok. You fuck me, then snub me. You love me, you hate me. You show me a sensitive side, then you turn into a total asshole. Is this a pretty accurate description of our relationship."

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Personal Development

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Amber Hurdle

"Man loves pleasure. But women desire purposeful commitment."

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Personal Development

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Amber Hurdle

"Just because our friendship has changed and now we grow in different directions, does not mean that we have to grow apart."

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Personal Development

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Amber Hurdle

"And someone he scarcely knew moved towards him and knelt beside him and whispered, 'Sir, was you calling out for me? Sir, I know I know,' and touched him."

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Personal Development

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Amber Hurdle

"Everyone comes with baggage, marry the one whose baggage weighs the least."

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Personal Development

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Amber Hurdle

"A relationship is not just about sex " it is much more than that. Sex is only a tool in love, not love itself."

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Personal Development

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Amber Hurdle

"It's not love or anything, but I think I like you, too."

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Personal Development

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Amber Hurdle

"When someone is hard on you it may have very little to do with you."

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Personal Development

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Amber Hurdle

"It's funny how they thought we were dating," Colin said, glancing over at her."How's that funny?" she asked, holding his gaze."Um," he said. Distracted from the road, Colin watched as she gave him the slightest version of her inimitable smile."

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Diana Gabaldon
"At the best of times, Father Bain's face resembled a clenched fist."

Character

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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."

Character

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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."

Stillness

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Diana Gabaldon
"For where all love is, the speaking is unnecessary."

Love

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Diana Gabaldon
"You're beautiful to me, Jamie, I said softly, at last. "So beautiful, you break my heart."

Love

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Diana Gabaldon
"Intimacy and romance are not synonymous."

Love

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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."

Art

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Diana Gabaldon
"Its appearance was greeted with cries of rapture, and following a brief struggle over possesion of the volume, William rescued it before it should be torn to pieces, but allowed himself to be induced to read some of the passages aloud, his dramatic rendering being greeted by wolflike howls of enthusiasim and hails of live pits."

Enthusiasm

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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."

Art

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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."

Communication

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