Quotes by Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes

Explore a curated collection of 21 quotes by Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes. Discover timeless wisdom, insightful thoughts, and memorable words that have inspired readers around the world. Browse through the gallery below and click on any quote to read more.

To some extent, emotions are universal and can be treated that way; no matter what the participants’ orientation or pref — 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 ho — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
There’s a little trick called the Rule of Three: if you use any three of the five senses, it will make the scene immedia — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
Good sex scene is about the exchange of emotions, not bodily fluids — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
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. — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
Don’t go overboard in avoiding “said.” Basically, “said” is the default for dialogue, and a good thing, too; it’s an inv — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
You want to anchor the scene with physical details, but by and large it’s better to use sensual details rather than over — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
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 — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
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 passag — 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
Watch a good movie sometime without reference to what’s happening but only with attention to how it was photographed; yo — 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 restr — 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 — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
For a different woman, a different relationship, a different situation, gentleness might have been the proper, the only — 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 cer — 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
Okay. This has to be a credible threat. Ergo, we have to have seen (and heard about) the real damage Randall has done to — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes