‘Outlander’s’ Diana Gabaldon Weighs In On Season 7 Changes – Penultimate Episode Has A Major Book Callback Fans Won’t Want To Miss
‘Outlander’ is currently airing part 2 of its second season. The penultimate episode of Season 7, set to air on January 3, 2025, pays a big tribute to Diana Gabaldon’s books. Titled “Written in My Own Heart’s Blood,” the episode shares its name with Gabaldon’s eighth novel.
This follows a pattern from past seasons, where episode titles have referenced her books, like “Dragonfly in Amber” and “The Fiery Cross.” Recently, Gabaldon also wrote an episode for the show and shared her thoughts on the experience.
The next episode’s title comes from the eighth book, but that doesn’t mean the story will be exactly like the book. However, it hints that some major events from the novel might happen before the season ends.
Diana Gabaldon wrote the most recent ‘Outlander’ episode, “Ye Dinna Get Used To It,” marking only her third script for the show. While the production team keeps her involved, she noted that her original script was changed.
Some parts, like William and Jane’s scenes, were shortened, while more time was given to Hal and Lord John. The story between Brianna and Rob Cameron was also reduced. Gabaldon shared another example of book-to-show changes in Season 7.
Some lines were changed—when Claire (book) sees Jamie in his new uniform and he asks whether he looks decent to inspect troops, she replies, ‘You look like bloody Mars, god of war. You’re likely to frighten your men.’ To which he replies, ‘I want them frightened of me. It’s my best chance of getting them out of this alive.’ That was (I believe) changed to JAMIE: ‘Do ye like it? CLAIRE: ‘I’d be lying if I said I didn’t.’ OK, there’s nothing wrong with either version, but it does alter the focus.
There’s nothing ‘wrong’ with either one; it’s just where you want to place the focus of a scene or story, and in some contexts, one version might be better for the other medium. (i.e., I have all the room I need to do just about anything I want; I can take the time to show Jamie’s uncertainty about leading a much bigger group of men than he ever has, under urgent conditions. The show can’t, because they don’t have room. If they have to pick and choose between the elements of a book-scene (and they do), they’ll usually go for the briefest/most condensed version.
Diana Gabaldon explained that when writing dialogue for historical figures in her books, she tries to use their actual words from preserved letters or journals and captures their personality and speaking style. For example, Benedict Arnold’s lines in her book reflect his charm and philosophy, along with a direct historical reference to his actions.
She noted that TV writers often condense dialogue for time and may occasionally include historically inaccurate or overly modern language. When this happens, she points it out, and about half the time, the changes are made. Writing historical fiction, she added, involves balancing known facts with creative interpretation, especially in crafting authentic dialogue.
When I do dialogue (in the book) for a character who was a real person, I try to find as much as I can of what they actually _did_ say, especially if they wrote letters or journals that have been preserved or quoted—and beyond that, to at least superficially understand both what made that person tick, and the style of their speech.
The show writers don’t have the time or resources to do that; their dialogue has to be very condensed. Generally, they do a good job, and occasionally they’ll do something that makes sense in their context but is way off historically (either in terms of fact, or using a too-modern figure of speech, or something that (I know) a particular character Just Wouldn’t Say (for reason X, Y and Z).) When this happens, I tell them about it, and about half the time they fix it.
A writer of historical fiction is always walking a tight-rope between fact (insofar as they’re known—and quite often, they aren’t) and extrapolation. And dialogue is in itself an art, regardless of its subject.
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