Diana Gabaldon Quotes - Page 2

Your mother said that Fraser sent her back to me, knowing that I would protect her--and you. ... And like him, perhaps I send you back, knowing---as he knew of me--that he will protect you with his life. I love you forever, Brianna. I know whose child you truly are. With all my love, Dad.

Diana Gabaldon

For my sake,” he said firmly, addressing the air in front of him as though it were a tribunal, “I dinna want ye to bear another child. I wouldna risk your loss, Sassenach,” he said, his voice suddenly husky. “Not for a dozen bairns. I’ve daughters and sons, nieces and nephews, grandchildren—weans enough.”He looked at me directly then, and spoke softly.“But I’ve no life but you, Claire.”He swallowed audibly, and went on, eyes fixed on mine.“I did think, though . . . if ye do want another child . . . perhaps I could still give ye one.

Diana Gabaldon

When you hold a child to your breast to nurse, the curve of the little head echoes exactly the curve of the breast it suckles, as though this new person truly mirrors the flesh from which it sprang.

Diana Gabaldon

Do you really think we'll ever--""I do," he said with certainty, not letting me finish. He leaned over and kissed my forehead. "I know it, Sassenach, and so do you. You were meant to be a mother, and I surely dinna intend to let anyone else father your children.

Diana Gabaldon

Babies are soft. Anyone looking at them can see the tender, fragile skin and know it for the rose-leaf softness that invites a finger's touch. But when you live with them and love them, you feel the softness going inward, the round-cheeked flesh wobbly as custard, the boneless splay of the tiny hands. Their joints are melted rubber, and even when you kiss them hard, in the passion of loving their existence, your lips sink down and seem never to find bone. Holding them against you, they melt and mold, as though they might at any moment flow back into your body.But from the very start, there is that small streak of steel within each child. That thing that says "I am," and forms the core of personality.In the second year, the bone hardens and the child stands upright, skull wide and solid, a helmet protecting the softness within. And "I am" grows, too. Looking at them, you can almost see it, sturdy as heartwood, glowing through the translucent flesh.The bones of the face emerge at six, and the soul within is fixed at seven. The process of encapsulation goes on, to reach its peak in the glossy shell of adolescence, when all softness then is hidden under the nacreous layers of the multiple new personalities that teenagers try on to guard themselves.In the next years, the hardening spreads from the center, as one finds and fixes the facets of the soul, until "I am" is set, delicate and detailed as an insect in amber.

Diana Gabaldon

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.

Diana Gabaldon

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.

Diana Gabaldon

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.

Diana Gabaldon

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 proceeding with his own notion of how it should be, even though it’s a sensible notion and the one most people would have.

Diana Gabaldon

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 their sense of depth and involvement (and if it’s a plot device, it will heighten the dramatic tension). But if you use that element three times, everybody will notice it the third time you do it.

Diana Gabaldon

Almost everybody understands that you have to have something at stake for a story to be good.

Diana Gabaldon

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.

Diana Gabaldon

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 love is. Real love has real costs—and they’re worth it. I’ve always said all my books have a shape, and Outlander’s internal geometry consists of three slightly overlapping triangles. The apex of each triangle is one of the three emotional climaxes of the book: 1) when Claire makes her wrenching choice at the stones and stays with Jamie, 2) when she saves Jamie from Wentworth, and 3) when she saves his soul at the abbey. It would still be a good story if I’d had only 1 and 2—but (see above), the Rule of Three. A story that goes one, two, three, has a lot more impact than just a one–two punch.

Diana Gabaldon

To some extent, emotions are universal and can be treated that way; no matter what the participants’ orientation or preference, they have sex for the same reasons and can experience the same array of emotions in the process. But there are three important distinctions to be made: 1. The logistics of physiology 2. The basics of sexual attraction 3. Cultural impact on character and situation

Diana Gabaldon

Men have external genitalia, while women have internal genitalia. This simple difference makes a lot of difference in how they write about themselves—and how you might write about your characters. Male writers don’t often address internal sensation in a character, because they don’t experience it (and probably often don’t realize consciously that it’s there). This accounts for a lot of Really Terrible sex scenes written by men (if you look at the “Bad Sex-Scene Awards” in any given year, you’ll see that the vast majority are done by male writers).

Diana Gabaldon

There’s a little trick called the Rule of Three: if you use any three of the five senses, it will make the scene immediately three-dimensional.

Diana Gabaldon

Good sex scene is about the exchange of emotions, not bodily fluids

Diana Gabaldon

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

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

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.

Diana Gabaldon

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.

Diana Gabaldon

As a rule of thumb, four consecutive lines of dialogue is about as much as you want to have without a tag.

Diana Gabaldon

Don’t let characters talk pointlessly—they only talk if there’s something to say.

Diana Gabaldon

Dialogue doesn’t take place in a vacuum. Dialogue is contradictory, in that it can either speed up or slow down a passage.

Diana Gabaldon

Pointing out the emotion in a scene is like laughing at your own jokes.

Diana Gabaldon

If there’s true emotional content in a situation between characters, all you do is reveal it.

Diana Gabaldon

For several days, I slept. Whether this was a necessary part of physical recovery, or a stubborn retreat from waking reality, I do not know, but I woke only reluctantly to take a little food, falling at once back into a stupor of oblivion, as though the small, warm weight of broth in my stomach were an anchor that pulled me after it, down through the murky fathoms of sleep.

Diana Gabaldon

You're beautiful to me, Jamie,” I said softly, at last. “So beautiful, you break my heart.

Diana Gabaldon

It's always better if they see. Then they don't imagine things. So I didn't imagine, I remembered.

Diana Gabaldon

Some enterprising rabbit had dug its way under the stakes of my garden again. One voracious rabbit could eat a cabbage down to the roots, and from the looks of things, he'd brought friends. I sighed and squatted to repair the damage, packing rocks and earth back into the hole. The loss of Ian was a constant ache; at such moments as this, I missed his horrible dog as well.I had brought a large collection of cuttings and seeds from River Run, most of which had survived the journey. It was mid-June, still time--barely--to put in a fresh crop of carrots. The small patch of potato vines was all right, so were the peanut bushes; rabbits wouldn't touch those, and didn't care for the aromatic herbs either, except the fennel, which they gobbled like licorice.I wanted cabbages, though, to preserve a sauerkraut; come winter, we would want food with some taste to it, as well as some vitamin C. I had enough seed left, and could raise a couple of decent crops before the weather turned cold, if I could keep the bloody rabbits off. I drummed my fingers on the handle of my basket, thinking. The Indians scattered clippings of their hair around the edges of the fields, but that was more protection against deer than rabbits.Jamie was the best repellent, I decided. Nayawenne had told me that the scent of carnivore urine would keep rabbits away--and a man who ate meat was nearly as good as a mountain lion, to say nothing of being more biddable. Yes, that would do; he'd shot a deer only two days ago; it was still hanging. I should brew a fresh bucket of spruce beer to go with the roast venison, though . . . (Page 844)

Diana Gabaldon

Not the historians. No, not them. Their greatest crime is that they presume to know what happened, how things come about, when they have only what the past chose to leave behind-- for the most part, they think what they were meant to think, and it's a rare one that sees what really happened, behind the smokescreen of artifacts and paper...No, the fault lies with the artists...The writers, the singers, the tellers of tales. It's them that take the past and re-create it to their liking. Them that could take a fool and give you back a hero, take a sot and make him a king...Liars?...or sorcerers? Do they see the bones in the dust of the earth, see the essence of a thing that was, and clothe it in new flesh, so the plodding beast reemerges as a fabulous monster?

Diana Gabaldon

He was generally aware that he had been blessed in her beauty; even in her usual homespun, knee-deep in mud from her garden, or stained and fierce with the blood of her calling, the curve of her bones spoke to his own marrow, and those whisky eyes could make him drunk with a glance. Besides, the mad collieshangie of her hair made him laugh.

Diana Gabaldon

Once you've chosen a man, don't try to change him, I wrote, with more confidence. It can't be done. More important -- don't let him try to change you. He can't do it either, but men always try.

Diana Gabaldon

I'll tell ye, Sassenach; if ever I feel the need to change my manner of employment, I dinna think I'll take up attacking women - it's a bloody hard way to make a living.

Diana Gabaldon

I heard you went to Ireland...I haven't seen it in many years. Is it still green then, and beautiful?Wet as a bath sponge and mud to the knees but, aye, it was green enough.

Diana Gabaldon

It's the anonymity of the war that makes the killing possible. When the nameless dead are named again on tombstone and on cenotaph, then they regain the identity they lost as soldiers, and take their place in grief and memory, the ghosts of sons and lovers.

Diana Gabaldon

Soldiers manage by dividing themselves. They're one man in the killing, another at home, and the man that dandles his bairn on his knee has nothing to do wi' the man who crushed his enemy's throat with his boot, so he tells himself, sometimes successfully.

Diana Gabaldon

One dictum I had learned on the battlefields of France in a far distant war: You cannot save the world, but you might save the man in front of you, if you work fast enough.

Diana Gabaldon

Its appearance was greeted with cries of rapture, and following a brief struggle over possesion of the volume, William rescued it before it should be torn to pieces, but allowed himself to be induced to read some of the passages aloud, his dramatic rendering being greeted by wolflike howls of enthusiasim and hails of live pits.

Diana Gabaldon

Reading is of course dry work, and further refreshment was called for and consumed.

Diana Gabaldon

A general cry of "What book? What book? Let us see this famous book!

Diana Gabaldon

Overall, the library held a hushed exultation, as though the cherished volumes were all singing soundlessly within their covers.

Diana Gabaldon

I will have papers. And whether it is one George or the other who rules in time - this land will be ours. And yours," he added softly, raising his eyes to Brianna's. "And your children's after you." I laid my hand on his, where it rested on the box. His skin was warm with work and the heat of the day, and he smelt of clean sweat. The hairs on his forearm shone red and gold in the sun, and I understood very well just then, why it is that men measure time. They wish to fix a moment, in the vain hope that so doing will keep it from departing

Diana Gabaldon

Nothing is lost, Sassenach; only changed.""That's the first law of thermodynamics," I said, wiping my nose."No," he said. "That's faith.

Diana Gabaldon

No. Ye loved him. I canna hold it against either of you that ye mourn him. And it gives me some comfort to know ..." He hesitated, and I reached up to smooth the rumpled hair off his face."To know what?""That should the need come, you might mourn for me that way," he said softly.

Diana Gabaldon

I want to take ye to bed. In my bed. And I mean to spend the rest of the day thinking what to do wit ye once I got ye there. So wee Archie can just go and play at marbles with his bollucks, aye?

Diana Gabaldon

It would ha' been a good deal easier, if ye'd only been a witch.

Diana Gabaldon

That dog is a wolf, is he not?''Aye, well, mostly.'A small flash of hazel told him not to quibble.'And yet he is thy boon companion, a creature of rare courage and affection, and altogether a worthy being?;'Oh, aye,' he said with more confidence. 'He is."She gave him an even look.'Thee is a wolf, too, and I know it. But thee is my wolf, and best thee know that.'He'd started to burn when she spoke, an ignition swift and fierce as the lighting of one of his cousin's matches. He put out his hand, palm forward, to her, still cautious lest she too, burst into flame.'What I said to ye, before . . . that I kent ye loved me-'She stepped forward and pressed her palm to his, her small, cool fingers linking tight.'What I say to thee now is that I do love thee. And if thee hunts at night, thee will come home.'Under the sycamore, the dog yawned and laid his muzzle on his paws.'And sleep at they feet,' Ian whispered, and gathered her in with his one good arm, both of them blazing bright as day.

Diana Gabaldon

Gentle he would be, denied he would not.

Diana Gabaldon

But I talk to you as I talk to my own soul," he said, turning me to face him. He reached up and cupped my cheek, fingers light on my temple."And, Sassenach," he whispered, "your face is my heart.

Diana Gabaldon

I thought the force of my wanting must wake ye, surely. And then ye did come. . ." He stopped, looking at me with eyes gone soft and dark. "Christ, Claire, ye were so beautiful, there on the stair, wi' your hair down and the shadow of your body with the light behind ye…." He shook his head slowly. "I did think I should die, if I didna have ye," he said softly. "Just then.

Diana Gabaldon

Why?" I shrieked, hitting him again and again, and again, the sound of the blows thudding against his chest. "Why, why why!".Because I was afraid!" He got hold of my wrists and threw me backward so I fell across the bed. He stood over me, fists clenched, breathing hard.I am a coward, damn you! I couldna tell ye, for fear ye would leave me, and unmanly thing that I am, I thought I couldna bear that!"~~~~~~~~~You should have told me!"And if I had?, You'd have turned on your heel and gone without a word. And having seen ye again--I tell ye, I would ha' done far worse than lie to keep you!"Voyager

Diana Gabaldon

To see the years touch ye gives me joy", he whispered, "for it means that ye live.

Diana Gabaldon

And I mean to hear ye groan like that again. And to moan and sob, even though you dinna wish to, for ye canna help it. I mean to make you sigh as though your heart would break, and scream with the wanting, and at last to cry out in my arms, and I shall know that I've served ye well.

Diana Gabaldon

Oh, aye, Sassenach. I am your master . . . and you're mine. Seems I canna possess your soul without losing my own.

Diana Gabaldon

I stood still, vision blurring, and in that moment, I heard my heart break. It was a small, clean sound, like the snapping of a flower's stem.

Diana Gabaldon

It wasn't a thing I had consciously missed, but having it now reminded me of the joy of it; that drowsy intimacy in which a man's body is accessible to you as your own, the strange shapes and textures of it like a sudden extension of your own limbs.

Diana Gabaldon

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 under that tree on the road 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 she looks like, and for all she weights as much as a good draft horse, this is the woman.

Diana Gabaldon

I will find you," he whispered in my ear. "I promise. If I must endure two hundred years of purgatory, two hundred years without you - then that is my punishment, which I have earned for my crimes. For I have lied, and killed, and stolen; betrayed and broken trust. But there is the one thing that shall lie in the balance. When I shall stand before God, I shall have one thing to say, to weigh against the rest."His voice dropped, nearly to a whisper, and his arms tightened around me.Lord, ye gave me a rare woman, and God! I loved her well.

Diana Gabaldon

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