He’d come up to the loft and pulled the ladder up behind him, to prevent the children coming up. I was dressing quickly—or trying to—as he told me about Dan Morgan, about Washington and the other Continental generals. About the coming battle.

“Sassenach, I _had_ to,” he said again, softly. “I’m that sorry.”

“I know,” I said. “I know you did.” My lips were stiff. “I—you—I’m sorry, too.”

I was trying to fasten the dozen tiny buttons that closed the bodice of my gown, but my hands shook so badly that I couldn’t even grasp them. I stopped trying and dug my hairbrush out of the bag he’d brought me from the Chestnut Street house.

He made a small sound in his throat and took it out of my hand. He threw it onto our makeshift couch and put his arms around me, holding me tight with my face buried in his chest. The cloth of his new uniform smelled of fresh indigo, walnut hulls, and fuller’s earth; it felt strange and stiff against my face. I couldn’t stop shaking.

“Talk to me, _a nighean_,” he whispered into my tangled hair. “I’m afraid, and I dinna want to feel so verra much alone just now. Speak to me.”

“Why has it always got to be _you_?” I blurted into his chest.

That made him laugh, a little shakily, and I realized that all the trembling wasn’t coming from me.

“It’s no just me,” he said, and stroked my hair. “There are a thousand other men readying themselves today—more—who dinna want to do it, either.”

“I know,” I said again. My breathing was a little steadier. “I know.” I turned my face to the side in order to breathe, and all of a sudden began to cry, quite without warning.

“I’m sorry,” I gasped. “I don’t mean—I don’t want t-to make it h-harder for you. I—I—oh, Jamie, when I knew you were alive—I wanted so much to go home. To go home with you.”

His arms tightened hard round me. He didn’t speak, and I knew it was because he couldn’t.

“So did I,” he whispered at last. “And we will, _a nighean_. I promise ye.”

The sounds from below floated up around us: the sounds of children running back and forth between the shop and the kitchen, Marsali singing to herself in Gaelic as she made fresh ink for the press. The door opened, and cool, rainy air blew in with Fergus and Germain, adding their voices to the cheerful confusion.

We stood wrapped in each other’s arms, taking comfort from our family below, yearning for the others we might never see again, at once at home and homeless, balanced on a knife edge of danger and uncertainty. But together.

“You’re not going off to war without me,” I said firmly, straightening up and sniffing. “Don’t even _think_ about it.”

See the note below—this post is from July 6, 2014 and is a bit outdated…

I’m about to head back out in a few hours, to do my _last_ US/Canadian book-tour event in Traverse City, MI. But thought I might grab an hour to do a bit of updating before I absquatulate again…

First—I’m delighted that so many of you like MOBY!* Thank you so much for all your kind words.

As for the next book(s), I have no idea.** I finished writing MOBY on April 15th (having stayed up 36 hours straight to do it), spent the rest of April working 16 hours a day to finish the copyedits and galley proofs, then spent most of May dealing with everything (including stuff associated with the TV show) that was pushed out of the way during the Final Frenzy of MOBY. And on June 7th, all hell broke loose and I’ve essentially been on the road for a solid month, with three brief touchdowns at home (ranging from 12 hours to a whole day-and-a-half). So far, I’ve signed roughly 38,000 copies of MOBY and will undoubtedly hit between 40-50,000 by the end of summer. (No, I don’t have carpal-tunnel syndrome, but thank you for your concern.)

Now, I realize that it’s difficult to know what to say to a writer at a book-signing; I’d be tongue-tied myself, in the presence of someone I admired but didn’t know. It’s always great to hear, "I loved this book!" or "I love your books and I’m really looking forward to reading this one!" if you need a default. "WHEN WILL BOOK NINE BE OUT?!?" is possibly a little less welcome.

But I do appreciate the enthusiasm/impatience that spawn this question, so here’s what my immediate writing future looks like (assuming I survive the rest of the summer):

At the moment, there are only scraps of Book Nine—plus a useful "What I Know" document that I wrote right after finishing MOBY, about the "shelf-hung" subplots (those are bits that are kind of folded back on themselves, but not left as cliffhangers—like where William is going or what will happen to Lord John next).

I haven’t even formally sifted MOBY’s Mfile (the regularly updated list of files written for a specific book) and moved the remnant files to JAMIE9 (the directory/folder for Book Nine) yet (that’s a two-day job in itself). The next thing I do is to go through my major reference shelves, cleaning and tidying, and in the process, assemble the "core" shelf for Book 9–for any book, no matter how many references I consult along the way, there will end up being maybe five books that are _very_ helpful/relevant and that I use a lot, and maybe 5-10 more that I want to keep close to hand, for more limited but still important stuff. I keep one shelf for that core reference stuff, and refurbish it when I start serious work on a new novel. adding new sources as I come across them. Then I read through the relevant portions of ALMANAC OF THE AMERICAN REVOLUTION, a _very_ useful book that gives brief notes on everything happening everywhere <g> on a given day, that had any importance in the Revolution. This is my first pass at a historical timeline (which lives in my head and evolves constantly over the course of a book). I’ll probably write bits and pieces while I’m doing these necessary chores, but it’s pretty random and nothing like the sustained effort that comes as I move fully into a book.

In other words, you’re not likely to see #DailyLines from Book Nine for awhile.

Now, there’s a _lot_ of THE OUTLANDISH COMPANION, Volume 2 in existence. I’ve been messing about with that on the side for the last 2-3 years, and most of it is _there_, if not yet tidied into its final form. There are a few chunks of original writing still to be done for that–the detailed synopsis for MOBY is the first that springs to mind, though I’ll also need to add commentary to a largish excerpt section (specialized excerpts), and a few other bits to be collected or contracted (i.e., I may have to get someone to produce things like maps or floor-plans, as I can’t do better than crude sketches on my own). But IF I move OC2 to the top of the work pile (not as the main focus, but as the main side-project), it _might_ be ready for delivery to the publisher around January, and thus might be in print sometime in the first half of 2015, which would be nice. (I also need to do slight updates to OC1, removing obsolete material and maybe improving the Gaelic Pronunciation Guide—that sort of thing.)

Then there’s the HOW TO (AND HOW _NOT_ TO) WRITE SEX-SCENES ebook. That’s actually complete, but I finished it right before both the show and MOBY hit high gear, so I now need to read it through again and do final fiddles (and maybe include a few scenes from MOBY), then run it past my agent for response and suggestions (if any). Ebooks can be produced _very_ fast, though, so once we’re happy with it, it could be out within a couple of months–I’d kind of like to have it out this fall, but that’s a matter for discussion with agents, publishers, etc.

And more or less on the same level with Book Nine (in terms of how eager I am to work on them) are the prequel volume about Jamie’s parents (for which I have only fragments at the moment) and the first contemporary crime novel. I think I have about half of that, and it’s "live" for me–but will take a good bit of intensive work, both in terms of research and writing. On the other hand, it’s short by comparison with everything else on my menu.

And on the outskirts of my mind are the germs of what might eventually be novellas, but I haven’t had the time even to _look_ at those with any attention. They _are_ brief, though, and I might well pick one up to get back into my regular routine–come September. I’ll be traveling/working most of July and August, and won’t have anything like peace and quiet ’til Labor Day. (No, I’m not going to Dragon Con this year, unless Starz decides they want to have a presence there for the show, and at the moment, they don’t.)

In the meantime, any eager soul who foolishly asks me, "When will Book Nine be out?" will be politely ignored. Or bonked on the head with the copy of MOBY they just asked me to sign, depending…

*(And for those few who complained that the ending of MOBY was a cliffhanger….go back and read the end of AN ECHO IN THE BONE, to see what one actually looks like. <g> If you just wanted to "see" what happened next in MOBY…feel free to fill in your own version of "OMG! OMG! OMG! <hughughug> <weep tears of joy> OMG! OMG! OMG! <broken endearments> OMG? OMG? OMG? <hopping up and down> OMG!" I have complete faith in my readers’ intelligence and imagination, and I don’t tell y’all things I know you can figure out for yourselves.)

**Webmistress’s Note on August 28, 2015: A lot has changed in the year since Diana posted the blog above on July 6, 2014:

• See Diana’s Book Nine webpage for excerpts (aka "Daily Lines") and current information.
• The revised, updated and expanded version of THE OUTLANDISH COMPANION, VOLUME ONE, was published on March 31, 2015 in the U.S.A. This ultimate guide to the OUTLANDER series covers the first four major novels: OUTLANDER, DRAGONFLY IN AMBER, VOYAGER, and DRUMS OF AUTUMN. (The original OC was published in 1999. The U.K. edition of this guide was titled THROUGH THE STONES.)
• THE OUTLANDISH COMPANION, VOLUME TWO will be published in the U.S.A. on October 27, 2015. OC II is the guide to the second four major novels in the OUTLANDER series: THE FIERY CROSS, A BREATH OF SNOW AND ASHES, AN ECHO IN THE BONE, and WRITTEN IN MY OWN HEART’S BLOOD (aka "MOBY").

It’s DONE!!!

As my husband says, “Finished” is a relative term to a writer. For me, there’s a sense of completion when I’ve seen the shape of the book; I know what I’m working with. Then there’s the BIG “Finished,” when I’ve done with the writing–the story is All There, and in the publisher’s hands; at this point, there _will_ be a book, even if I get run over by a train.

Revisions–usually very minor, and they were _really_ minor in this book–are generally done as I go along. I send my two editors (US and UK) chunks of the manuscript, and they send me their comments, and if there looks like anything that should be tweaked (often there’s not), I do that just as part of the daily writing.

So the next major “Finished” is the copy-edits. The copy-editor is the unsung heroine who reads the finished manuscript One. Word. At. A. Time, looking for typos, continuity errors, infelicities (like using the same word three times in the same paragraph, or using six clauses all separated by dashes <g>), and so on. This is god-awful tedious stuff, and it’s not a lot more fun on -my- end, when it comes back and I have to check through all of the copy-editor’s queries and either answer them or do something about them.

And once the copy-edits are done, the manuscript goes to the typesetters, and then we get galleys. That’s short for “galley-proofs.” These are typeset pages that look exactly as the pages will look in the book, including page numbers, gutters, decorations, etc.

The final “Finished!” is when I’ve read through the galleys, correcting any typos that escaped during the earlier processes (there are _always_ escaped typos, no matter how many people have combed through a manuscript, always), and errors introduced during the typesetting process (words hyphenated in the wrong place at the end of a line, lines transposed–very rare, but it happens–lines accidentally broken in the middle, and so on). This is also my Very Last Chance to change or fix anything, and for this manuscript, also the last chance to make sure all of the Gaelic and French and German phrases were correctly spelled. <g>

But I made it! The very last batch of corrected galleys went out of here by FedEx this afternoon. I’m FINISHED!!

Whereupon my husband took me out to celebrate, and after two bottles of a nice cold Austrian wine, a lobster quesadilla (divine), a bowl of Chama chili and a four-hour nap…I was Nicely Mellow. <g>

We’re done–and there _will_ be a book on June 10th! (in the US and Canada; I believe the UK/Australia/NZ are saying they plan to release it June 5th, and Germany is saying July 21st.) Hope you’ll enjoy it!

Oh–I’ve had a lot of inquiries lately about getting signed copies of WRITTEN IN MY OWN HEART’S BLOOD (My Own Heart’s Blood = MOHB = MOH-B = MOBY. Geddit?). For a list of places where I’ll be going and doing signings visit my official Appearances page on this site. If you don’t live in one of those places I ‘m visiting, but do want a signed book, the simplest thing to do is probably to order it from The Poisoned Pen bookstore, here in Scottsdale. They’re my local independent bookstore, always carry ALL my titles in all available formats, and will ship anywhere in the world. Just tell them how you’d like your book to be inscribed; I normally go by there every couple of weeks to sign their orders.

(Note from Diana’s webmistress: You can also request free, signed bookplates for your copies of MOBY. Click here for more information.)

Canadian Flag 2 clipart
from Clker.com

(Don’t panic; I’ll be posting the US tour dates tomorrow.)

Friday June 20
6:30pm TORONTO EVENT

Toronto Reference Library, Bram & Bluma Appel Salon
789 Yonge St.

This is a free, ticketed event. To reserve your ticket or for more information please visit:
www.torontopubliclibrary.ca/programs-and-classes/appel-salon/

Saturday June 21
1:00pm LONDON (ONTARIO) EVENT

Chapters, 1037 Wellington Road

This is a free event. For more information please visit www.chapters.indigo.ca
or phone 519-685-1008

Sunday June 22
1:00pm BARRIE EVENT
Chapters, 76 Barrie View Drive

This is a free event. For more information please visit www.chapters.indigo.ca
or phone 705-735-6735

Monday June 23
7:00pm OTTAWA EVENT
47 Rideau Street

This is a free event. For more information please visit www.chapters.indigo.ca
or phone 613-241-0073

Thursday June 26
6:00pm CALGARY EVENT
Costco
11588 Sarcee Trail NW

This is a free event, open to all Costco members.
For more information please phone 403-516-3701

Friday June 27
7:30pm VICTORIA EVENT

Alix Goolden Performance Hall, 900 Johnson St.

Tickets are $10. For more information please visit www.bolen.bc.ca or phone 250-595-4232

Two reasons for this:

1. The first—and by far the most important—is that I began to realize about a month ago that I needed a little more time in order to finish the book the way it needs to be done. I could get the necessary wordage on paper by the end of the year—but it wouldn’t be _good_. Good takes more time. And I’m really sorry, but you’re not getting a book that’s less than the best I can do.

2. The second thing has to do with the new Starz tv show. Two things about _that_:

a. While the original guess as to the date for the series release was April, that _was_ only a guess. In New York last month, the Starz people were telling me (and the assorted fans present; it’s not a secret) that it will be (take your pick), “June,” “July,” “August,” or “summer.” So, you know…later.

b. While I don’t have (and don’t want) “control” over anything to do with the show, I actually am (by contract) a consultant. And while I told the production people that I considered my main job to be staying out of their way, they are amazingly generous about including and involving me. And I am actually required to do promotional things for the PR side of the production. Sooo….am I going to say, “Sorry, I can’t be paying attention to all this fascinating stuff going on, and I’m not going to New York Comic Con, because I have to stay home and finish my novel?” Errr….no. (I mean, really—would _you_?)

So. I would have told you this a week or so ago, but once I’d made the decision that I needed an extra two months to do the book properly, all of the publishers needed to be officially informed. (Publishers hate finding out important things on Twitter or Facebook.)

Now, it’s up _to_ those publishers now to decide on a new pub date. They need to take into consideration all kinds of things, including the new date for the tv show’s release (not that there is an _official_ date as yet—and even if there was, it could move. Stuff Happens, as I’ve told you before), plus the usual considerations—where they can find a good slot in their existing schedule, what’s a good time of year for it, and so on.

I don’t have any idea what the new pub date might be. I’ll tell you the minute we know. But my immediate concern is for all the people I’ve seen this week excitedly making plans to come and see me in Portland or wherever.

Since the pub date is moving….I’m afraid (and my Deep Apologies to the poor publicists) all the tour events will have to be rescheduled, once a new date is chosen.

Now, I know a lot of you have been ordering tickets to the Portland event on April 6th. I’ll talk to the Random House people and the Portland people, and see what can be worked out. I’m happy to go and do that event, even if it’s not part of the official book-tour, if the organizers want that. But that’s up to them. I _will_ do my best to make sure you aren’t harmed by the change, though.

I’m sorry about this, and I thank you for your patience and understanding.

EW.com (ENTERTAINMENT WEEKLY’s electronic edition) reveals the official cover for MOBY (aka WRITTEN IN MY OWN HEART’S BLOOD), shown above. Here’s the link to their piece, which has a few questions and answers (such as they are [cough]).

Image at left: From the 1600s, Sir Isaac Newton’s stylized version of the abbreviation “lb,” which was short for the word “libra” in the Roman weight libra pondo, the origin of the octothorpe (#).

While I originally wanted an octopus on the cover—both because I really like octopuses and because of the symbolism (there are eight major characters whose stories I’m telling through this book—and it is the eighth book, after all), there were certain technical issues that made that difficult. My husband—never a big fan of the octopus concept—asked whether I could think laterally; surely there were other ways to get an “8” onto the cover.

So I thought. And almost at once, the word “octothorpe” sprang to mind. I’ve always liked the word, and it certainly was appropriate (you may or may not recognize it in its Very Artistic form—but it’s the lowly hashtag, or pound sign, #), as it not only has eight points (and eight “fields” of empty space surrounding it; one explanation of its origin is that it was a symbol on old English land documents for a farm surrounded by eight fields), but is a printing character—and the content of the book does indeed have a certain amount about the printer’s trade in colonial America during the Revolution.

So I went at once to Google and typed in “octothorpe”—and pretty much the first thing I saw was this (the symbol at right). I was so ravished by Conrad Altmann’s beautiful octothorpe that I emailed it at once to my editor, with the suggestion that we use this for the central icon of the new cover design.

Now, frankly, the Art Department was so relieved not to have to deal with any more octopuses that I’m sure they would have fallen on any alternate suggestion with cries of gladness. However, they were as pleased with this lovely octothorpe as I was, and came up with this elegant and striking concept, which I Really Like. Hope you will, too!

Further note: Sir Isaac Newton PRS (25 December 1642 – 20 March 1726/27) was an English mathematician, physicist, astronomer, theologian, and author (described in his time as a “natural philosopher”) who is widely recognized as one of the most influential scientists of all time and was a key figure in the scientific revolution. Image of the symbol written by him above is from the Roy G. Neville Historical Chemical Library, CHF; and Wikipedia.

February 23, 2021: Thank you to Kate Mullin, who pointed out that a web link in a previous version of this blog by Diana was no longer valid, and indeed was erroneously pointing instead to an Asian porn site!

This blog page was last updated on Tuesday, February 23, 2021, at 10:25 a.m. by Diana or Diana’s Webmistress.

This is a quick run-down of everything I know about that y’all might possibly want to know about. [g]

1. The cable-TV series of OUTLANDER.

a) It _is_ an agreement for a cable-TV series.

i. It is NOT a mini-series.

ii. It is NOT a movie.

iii. It is not regular network TV.

iv. Yes, if it gets made, unless you already subscribe to STARZ, you will have to pay to watch it, sorry.

b) The cable-TV series is being developed by STARZ.

i. It’s being _developed_.

ii. It’s not (yet) being _produced_.

iii. There is no casting call at present.

a. If there was one, I’d have nothing to do with it.

b. Please stop sending me pictures of your male relatives that you think look like Jamie.

c. Please stop sending me photos of yourself, even if you’re _sure_ you look just like Claire.

d. _Really_ stop sending me photos of that grotesque Irish wrestler with the clown hair.

e. Yes, Kevin McKidd, Gerard (not Gerald) Butler, Kate Winslet and Alex Kingston are all wonderful actors.

f. All these people are about twenty-five years TOO OLD to play any of the main characters in OUTLANDER.

g. Jamie is 22. Claire is 27.

h. Makeup and special effects do have limits.

c) No, I don’t know when the series will air.

i. The pilot script is still being written.

ii. The pilot script is not yet approved.

iii. If it is approved, STARZ might or might not agree to confirm the whole series or they might shoot the pilot first; we don’t know.

iv. When I _do_ know, I’ll tell you.

d) Ron D. Moore is the developer, writer, and show-runner for the OUTLANDER cable-TV series.

i. Yes, I like him.

ii. He came out to my house and spent a whole weekend with me, talking over the books, characters, etc.

iii. I believe him when he says he cares about doing a faithful (but effective) adaptation.

iv. I liked his ideas and suggestions.

v. Yes, I’ve seen the outline for the (projected) first season.

vi. Yes, I think it’s good.

vii. No, I haven’t seen the pilot script. But

e) IF the series does get produced, I can pretty much guarantee that it will have a lot of sex in it.

i. If you are one of the readers who reads the books with a black marker in hand in order to cross out naughty words and scenes of intimacy, you might want to make plans to watch something else.

2. MOBY. Aka WRITTEN IN MY OWN HEART’S BLOOD. Aka Book 8 of the Main (Big Book) Series. Aka Yes, it’s about Jamie and Claire. (My Own Heart’s Blood = MOHB = MOH-B = MOBY. Geddit?) Also, it’s probably going to be fairly large. (Precedent, you know?)

a) No, it isn’t on bookshelves today, even though it –is- now 2013.

b) No, it won’t be on sale this month, either.

c) BECAUSE I’M STILL WRITING IT, THAT’S WHY.

d) Yes, it _will_ (God willing and the creek don’t rise) be published this year.

e) In the Fall, OK?

f) I live in the Northern Hemisphere. I mean MY Fall. All y’all Australians and Kiwis are smart people; I have complete confidence that you can make the mental adjustment.

f) No, I don’t have a pub date.

g) The publisher sets the pub date.

h) The publisher certainly wouldn’t set a pub date without some reasonable expectation of having a manuscript in hand by said date.

i) They don’t have a manuscript in hand yet.

j) BECAUSE I’M STILL WRITING IT, THAT’S WHY.

m) No, I can’t tell you that I will be finished writing it on X date.

n) Because it doesn’t work like that.

o) And for heaven’s sake, what possible difference could it make? (Talk about OCD…)

3. Other Stuff.

a) Novellas. There are several novellas, dealing with secondary characters from the main series. Most of these were originally written for various anthologies, but as I get the reprint rights back, are now being made available as print collections and/or standalone ebooks.

b) Which form you, personally, can get hold of easily depends where you live. Printing rights are sold and managed on a geographical basis: i.e., print rights are sold _separately_ in the US and in other English-speaking countries. In practice, it usually works out that the US and Canada have the same rights and timing, while the UK/Australia/NewZealand group of countries may have something different.

c) Now, I do urgently need to go back to writing MOBY, so I’m not writing up all the ghastly details of where/when/what about the novellas AGAIN. I’ve done it on Facebook and on my website, _and_ as a special “extra” for the UK edition of THE SCOTTISH PRISONER. You can find the complete (mind-numbing) explanation on www.DianaGabaldon.com later this week. However—

d) IF you live in the US, you can get “The Custom of the Army” as a standalone (i.e., cheap ) ebook for $1.99,

http://tinyurl.com/CustomArmy

and likewise “A Leaf on the Wind of All Hallows,” which is the story of Roger MacKenzie’s parents in WWII.

http://tinyurl.com/LeafHallows

e) IF you live in the UK/Australia/NewZealand end of things (OR you want to go to the expense of getting an imported book), you can get A TRAIL OF FIRE, which is a print volume containing both the novellas noted above, plus two others: “Plague of Zombies,” and “The Space Between” (which deals with Michael Murray, Joan MacKimmie, the Comte St. Germain, and Mother Hildegarde, among others).

f) “The Space Between” _will be_ released in the US/Canada market IN AN ANTHOLOGY (that means you should look up the title OF THE ANTHOLOGY on Amazon.com/ca, not the title of the story) in February of This Year. Right soon now. The ANTHOLOGY is called THE MAD SCIENTIST’S GUIDE TO WORLD DOMINATION. (I’ll be doing an appearance to sign this—and anything else anybody wants signed—on Feb. 20th, at The Poisoned Pen in Scottsdale, along with John Joseph Adams, the editor of the anthology.)

g) For information on getting autographed copies of any of my books, see

http://bit.ly/DianaGabaldonAutographed

THANKS AND HAPPY NEW YEAR!!!

Happy Second Sunday of Advent! This particular excerpt is one that some of you may recognize; it was published as an “extra” in THE SCOTTISH PRISONER. I wanted to use it here, though, because of the spiritual theme of reconciliation and forgiveness, which seemed very appropriate to the season. (Last Sunday, we had an excerpt dealing with mourning and contemplation. Next Sunday is Gaudete Sunday—“Rejoicing” Sunday [g]—and we’ll have an excerpt dealing with joyful anticipation.) A Blessed Christmas (or Chanukah/Winter Solstice/Kwanzaa, etc.) season to all of you, and I hope you enjoy this.

William had left the house like a thunderclap, and the place looked as though it had been struck by lightning. I certainly felt like the survivor of a massive electrical storm; hairs and nerve endings all standing up straight on end, waving in agitation.

Jenny Murray had entered the house on the heels of William’s departure, and while the sight of her was a lesser shock than any of the others so far, it still left me speechless. I goggled at my erstwhile sister-in-law—though come to think, she still was my sister-in-law…because Jamie was alive. _ Alive_.

He’d been in my arms not ten minutes before, and the memory of his touch flickered through me like lightning in a bottle. I was dimly aware that I was smiling like a loon, despite massive destruction, horrific scenes, William’s distress—if you could call an explosion like that “distress”—Jamie’s danger, and a faint wonder as to what either Jenny or Mrs. Figg, Lord John’s cook and housekeeper, might be about to say.

Mrs. Figg was smoothly spherical, gleamingly black, and inclined to glide silently up behind one like a menacing ball-bearing.

“What’s this?” she barked, manifesting herself suddenly behind Jenny.

“Holy Mother of God!” Jenny whirled, eyes round and hand pressed to her chest. “Who in God’s name are you?”

“This is Mrs. Figg,” I said, feeling a surreal urge to laugh, despite–or maybe because of–recent events. “Lord John Grey’s cook. And Mrs. Figg, this is Mrs. Murray. My, um…my…”

“Your good-sister,” Jenny said firmly. She raised one black eyebrow. “If ye’ll have me, still?” Her look was straight and open, and the urge to laugh changed abruptly into an equally strong urge to burst into tears. Of all the unlikely sources of succor I could have imagined… I took a deep breath and put out my hand.

“I’ll have you.” We hadn’t parted on good terms in Scotland, but I had loved her very much, once, and wasn’t about to pass up any opportunity to mend things.

Her small firm fingers wove through mine, squeezed hard, and as simply as that, it was done. No need for apologies or spoken forgiveness. She’d never had to wear the mask that Jamie did. What she thought and felt was there in her eyes, those slanted blue cat-eyes she shared with her brother. She knew the truth now, of what I was—and knew I loved—had always loved–her brother with all my heart and soul–despite the minor complications of my being presently married to someone else.

She heaved a sigh, eyes closing for an instant, then opened them and smiled at me, mouth trembling only a little.

“Well, fine and dandy,” said Mrs. Figg, shortly. She narrowed her eyes and rotated smoothly on her axis, taking in the panorama of destruction. The railing at the top of the stair had been ripped off, and cracked banisters, dented walls, and bloody smudges marked the path of William’s descent. Shattered crystals from the chandelier littered the floor, glinting festively in the light that poured through the open front door, the door itself cracked through and hanging drunkenly from one hinge.

“Merde on toast,” Mrs. Figg murmured. She turned abruptly to me, her small black-currant eyes still narrowed. “Where’s his lordship?”

“Ah,” I said. This was going to be rather sticky, I saw. While deeply disapproving of most people, Mrs. Figg was devoted to John. She wasn’t going to be at all pleased to hear that he’d been abducted by–

“For that matter, where’s my brother?” Jenny inquired, glancing round as though expecting Jamie to appear suddenly out from under the settee.

“Oh,” I said. “Hm. Well…” Possibly worse than sticky. Because…
“And where’s my Sweet William?” Mrs. Figg demanded, sniffing the air. “He’s been here; I smell that stinky cologne he puts on his linen.” She nudged a dislodged chunk of plaster disapprovingly with the toe of her shoe.

I took another long, deep breath, and a tight grip on what remained of my sanity.

Mrs. Figg,” I said, “perhaps you would be so kind as to make us all a cup of tea?”

[end section]

Excerpt from WRITTEN IN MY OWN HEART’S BLOOD (will probably be published in Fall 2013). Copyright 2012 Diana Gabaldon (Please do not repost or otherwise reproduce—though you’re more than welcome to link to this page!)