Good sex scene is about the exchange of emotions, not bodily fluids — 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
Good sex scene is about the exchange of emotions, not bodily fluids — 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
Good sex scene is about the exchange of emotions, not bodily fluids — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
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Good sex scene is about the exchange of emotions, not bodily fluids

— Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
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More “Diana gabaldon” Quotes

It would ha' been a good deal easier, if ye'd only been a witch. — Diana Gabaldon, The Exile: An Outlander Graphic Novel
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
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
It’s not what’s happened or what’s about to happen — what’s important is the sense of emotional uncertainty between the characters and the delicacy of the mutual trust being established.
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