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
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
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
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
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
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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
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More “Diana gabaldon” Quotes

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
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
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