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.
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.
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.
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.
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.
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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.
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diana gabaldon "i give you my body . . .": how i write sex scenes

More “Diana gabaldon” Quotes

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
But it wouldn’t have half the power of a story in which Jamie and Claire truly conquer real evil and thus show what real — Diana Gabaldon, "I Give You My Body . . .": How I Write Sex Scenes
Conflict and character are the heart of good fiction, and good mystery has both of those in spades. — Diana Gabaldon
...sitting and waiting is one of the most miserable occupations known to man - not that it usually is known to men — women do it much more often.