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| Link | Quote | Stars | Tags | Author |
| 1ffe6c6 | Though I could wish your own limits went a bit further. | Diana Gabaldon | ||
| 4f233df | What it is between us, when I touch you, when you ... lie with me? Is it always so between a man and a woman?" In spite of his difficulties, I knew exactly what he meant. His gaze was direct, holding my eyes as he waited my answer. I wanted to look away, but couldn't. "There's often something like it," I said, and had to stop and clear my throat. "But no. No, it isn't--usual. I have no idea why, but no. This is ... different." | Diana Gabaldon | ||
| 4af3099 | smelt | Diana Gabaldon | ||
| ef9ce3f | The removal of his infected adenoids and tonsils had not cured Keziah's deafness, but had improved it markedly. He | Diana Gabaldon | ||
| cc39649 | ground like | Diana Gabaldon | ||
| ab079f0 | hummingbird. | Diana Gabaldon | ||
| b4e4dbe | Getting up once in the dark to go adventuring is a lark. Twice in two days smacks of masochism. No | Diana Gabaldon | ||
| e6e72c4 | slowly from the fire to her son, then snapped abruptly, focusing on the two little boys, who | Diana Gabaldon | ||
| 67b365f | His half-visible presence reminded me faintly of Jamie; he was nearly as tall as his uncle, and very nearly as strong, though still lean and gangling with adolescence. We | Diana Gabaldon | ||
| 38537c5 | There comes a turning point in intense physical struggle where one abandons oneself to a profligate usage of strength and bodily resource, ignoring the costs until the struggle is over. Women find this point in childbirth; men in battle. Past | Diana Gabaldon | ||
| 42d9a4c | I was used to paying a great deal of attention to my hands, one way and another. They were my tools, my channel of touch, mingling the delicacy and strength by which I healed. They had a certain beauty, which I admired in a detached sort of way, but it was the beauty of strength and competence, the assurance of power that made its form admirable. It was the same hand now, pale and long-fingered, the knuckles slightly bony--oddly bare withou.. | Diana Gabaldon | ||
| 3967afe | Upbeat people make us feel appreciated, important, and fantastic. These are the folks who expand and warm us with their positive energy. | body-language-quotes communication-skills energy-quotes expansion-quotes mindset-quotes motivational-speaker-susan-young quotes-by-susan-c-young relationship-quotes | Susan C. Young | |
| 2bf3ae0 | When I asked my da how ye knew which was the right woman, he told me when the time came, I'd have no doubt. And I didn't. When I woke in the dark on the way to Leoch, with you sitting on my chest, cursing me for bleeding to death, I said to myself, "Jamie Fraser, for all ye canna see what see looks like, and for all she weighs as much as a good draught horse, this is the woman." | diana-gabaldon jamie-fraser outlander | Diana Gabaldon | |
| 5003be7 | According to the vicar, many of the local folk thought the War was due in part to people turning away from their roots and omitting to take proper precautions, such as burying a sacrifice under the foundation, that is, or burning fishes' bones on the hearth--except haddocks, of course," he added, happily distracted. "You never burn a haddock's bones--did you know?--or you'll never catch another. Always bury the bones of a haddock instead." | Diana Gabaldon | ||
| afd434a | ornamental yew bushes. There | Diana Gabaldon | ||
| 5b5a204 | It's a sword, aye? Not a bloody club. Use the tip! | Diana Gabaldon | ||
| f16ffe2 | What is it about ye, Sassenach, I wonder?" he said conversationally, eyes still fixed on Myers. "What is what about me?" He turned then, and gave me a narrow eye. "What it is that makes every man ye meet want to take off his breeks within five minutes of meetin' ye." Fergus" | Diana Gabaldon | ||
| 49e1c45 | It was only as the tension went out of her shoulders hat he noticed it had been there. | Diana Gabaldon | ||
| 5f693d7 | It was only as the tension went out of her shoulders that he noticed it had been there. | Diana Gabaldon | ||
| 1e8ead8 | The eyes were steady, and told me no more than would my own, seen in a looking glass. | Diana Gabaldon | ||
| b3fa4a3 | You want to anchor the scene with physical details, but by and large it's better to use sensual details rather than overtly sexual ones. | sex writing | Diana Gabaldon | |
| fead8f6 | 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. | sex writing | Diana Gabaldon | |
| d54fefa | 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 point to any given element--be that a line of dialogue, a descriptive phrase, a plot point--and say why it's there. | sex writing | Diana Gabaldon | |
| 1197902 | 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." | sex writing | Diana Gabaldon | |
| 6371fe2 | Who you jiving, L.J.?" I heard Joe Abernathy's voice say, derisive and affectionate. I" | Diana Gabaldon | ||
| 7c7190a | Watch a good movie sometime without reference to what's happening but only with attention to how it was photographed; you'll see the change of focus--zoom in, pan out, close-up on face, fade to black, open from above--easily. You want to do that in what you write; it's one of the things that keep people's eyes on the page, though they're almost never conscious of it. | sex writing | Diana Gabaldon | |
| 096141b | Just as an effective advertisement or page layout includes a lot of white space, a powerful scene requires immense restraint. Show things as simply as possible. | sex writing | Diana Gabaldon | |
| 0f74c22 | Jamie's viewpoint is expressed almost entirely in metaphor: If she was broken, she would slash him with her jagged edges, reckless as a drunkard with a shattered bottle. He's using physical language, but he isn't talking about the physical details of the situation. Claire alludes to her emotion and shows it by her actions, but Jamie is thinking directly in pure emotions. | sex writing | Diana Gabaldon | |
| 8c22690 | For a different woman, a different relationship, a different situation, gentleness might have been the proper, the only approach--but not for this woman, in these circumstances. The only thing that will cleanse Claire (and reassure her: look at what she says at the end of it. She feels safe again, having felt the power and violence in him) is violence. And--the most important point here--Jamie pays attention to what she wants, rather than p.. | sex writing | Diana Gabaldon | |
| 6006718 | Penstemon, overhearing | Diana Gabaldon | ||
| ad28a76 | friend's face that something terrible had happened. The fact that he was seeing Jamie Fraser's face at all was evidence enough of that, never mind the look of the man. | Diana Gabaldon | ||
| d881fce | I leaned back on my elbows and basked in the warming spring sun. There was a curious peace in this day, a sense of things working quietly in their proper courses, nothing minding the upsets and turmoils of human concerns. Perhaps it was the peace that one always finds outdoors, far enough away from buildings and clatter. Maybe it was the result of gardening, that quiet sense of pleasure in touching growing things, the satisfaction of helpin.. | Diana Gabaldon | ||
| 35a435e | atwixt | Diana Gabaldon | ||
| 85c9823 | I reached for a pair of my own, intrigued. "Why not? Did the ancient Gaels not wear undergarments?" Frank leered. "You've never heard that old song about what a Scotsman wears beneath his kilts?" "Presumably not gents' knee-length step-ins," I said dryly. "Perhaps I'll go out in search of a local kilt-wearer whilst you're cavorting with vicars and ask him." "Well, do try not to get arrested, Claire. The dean of St. Giles College wouldn't li.. | Diana Gabaldon | ||
| 9621a24 | hand | Diana Gabaldon | ||
| 2b848b5 | I knew an old lady in the Highlands once, who said the lines in your hand don't predict your life; they reflect it. | Diana Gabaldon | ||
| 0d8913c | Belief is otiose; reality is sufficiently awesome as it stands. | Agnosticism | ||
| 4689b28 | I gledala sam, zarobljena, vezana za njega. Gledala sam, dok je rusio poslednju od svojih maski, pokazivao mi svoje dubine i rane svoje duse. Da sam mogla, plakala bih zbog njegove i zbog svoje povredjenosti. Ali su njegove oci gledale u moje, bez suza i otvorene, beskrajne kao slano more. Njegovi telo me drzalo u zarobljenistvu, terajuci me svojom silinom, kao zapadnjak u jedrima barke. I ja sam putovala u njega, i on u mene, tako da je u .. | Diana Gabaldon | ||
| 56855cb | This is why you use imagery when writing about sex; it's a means both of evoking immediacy and of distilling emotion. | sex writing | Diana Gabaldon | |
| 0b30277 | One of the general patterns of good (i.e., striking and memorable) writing is the effect of repetition. If you use a certain element--a plot device, an image, a noticeable phrase--once, readers may or may not notice it consciously, but it doesn't disturb the flow of their reading. If you use that element twice, they won't notice it consciously--but they will notice it subconsciously, and it will add to the resonance of the writing or to the.. | sex writing | Diana Gabaldon | |
| cba8fab | Almost everybody understands that you have to have something at stake for a story to be good. | sex writing | Diana Gabaldon | |
| d010541 | Okay. This has to be a credible threat. Ergo, we have to have seen (and heard about) the real damage Randall has done to Jamie thus far; we have to be in no doubt whatever that he'd do real damage to Claire. We can't just say, "Oh, he's such a nasty person, you wouldn't believe..." We have to believe, and therefore appreciate, just what Jamie is doing when he trades what's left of his life for Claire's." | sex writing | Diana Gabaldon | |
| 862ba49 | Don't you touch me!" I snapped. "Just tell me--do you think, on the evidence of a strange man happening to glance up at my window, that I've had some flaming affair with one of my patients?" Frank got out of bed and wrapped his arms around me. I stayed stiff as Lot's wife, but he persisted, caressing my hair and rubbing my shoulders in the way he knew I liked. "No, I don't think any such thing," he said firmly. He pulled me closer, and I re.. | Diana Gabaldon | ||
| 83defa7 | She and her mother both gave that odd impression of having been outlined somehow, drawn with such vivid strokes and delicate detail that they stood out from their background as though they'd been engraved on it. | Diana Gabaldon |