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.
Download Customize

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.
Pin Share Tweet Telegram
Topics
diana gabaldon "i give you my body . . .": how i write sex scenes

More “Diana gabaldon” Quotes

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
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