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
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
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
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
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
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Don’t go overboard in avoiding “said.” Basically, “said” is the default for dialogue, and a good thing, too; it’s an invisible word that doesn’t draw attention to itself.

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

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
This is why you use imagery when writing about sex — it’s a means both of evoking immediacy and of distilling emotion.
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