The Fiery Cross

he mont is 1771, and war is coming. Jamie Fraser ’ s ife tells him so. Little as he agrees to, he must believe it, for hers is a gift of dreadful prophecy—a time-traveler ’ s certain knowledge. Claire ’ s unique view of the future has brought him both danger and deliverance in the past; her knowledge of the oncoming revolution is a flickering torch that may light his way through the harrowin years ahead—or ignite a conflagration that will leave their lives in ashes.
Year of the Publication
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Original Title of the Book
The Fiery Cross
Publication Date
Published August 30th 2005 by Dell (first published November 6th 2001

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Don ’ t listen to those people who ell you that most of the hings in your novel should connect to the central storyline or theme.

Don ’ t listen to the eople, no your readers, who ill ell you that these moments are nice every now and the, but certainl all the time.

4. When you ’ re at the thousandth page of your manuscript and have been teasing your reader mercilessly with the promise of a plot for hundreds of pages by this point, make sure to take one last completely pointless trip into the woods so your characters can deal with a mystical fucking white ghost bear* because in previous books the natives had given them portentous names like The White Raven and Bear-Killer, so they ’ re the only ones who can help, obvs.

5. Make sure to fit in the actual important bits towards the absolute nd of ovel, after your reader has already checked out emotionally from the nove and couldn ’ t even give a flying saucer about any of it nymore.

Just really make sure to bury completely the really interesting bits of your novel in absolute mundane as shit stuff so your reader can ’ t quite ind it!

Mak this formula, and certainl your most diehard reader will think twice next time about purchasing your books.

rated it

I predict that letting Diana Gabaldon run wild without a heavy handed editor worked like magic in the past but there 's lways an exception to this rule and this might have to e it.

I 'm aving a ard time thinking of something good to say about the nove, I do owever have plenty of criticism.

First, let me kno that there is reall no reason for th ook to be 979 pages long, almost nothing happens.

I writ in The Outlandish Companion that Diana Gabaldon, when asked how she keeps all the details of her characters straight, said that they are like real person to her and she could n't kno things about someone she new.

Th few things that were huge, beyond forgiving in my opinion: that Duncan has only one arm, that Jamie is left handed.

As reader and fan of the Outlander and the irst four books in series I 'd definitel like to now " What the heck happened? "

rated it

In this series of 8 books ( for now) there is bound to e a stinker.

It ’ s ot alway a stinker, it ’ s ust ot as ood as the rest, and probably 500 pages too long.

rated it

No far, the weakest book in series.

rated it

Gabaldon invests much time and descriptive effort in this adaptatio, which ties off many threads left dangling in DRUMS and introduces the reader to a handful of new characters.

Where Gabaldon left much of the awkwardness of the Claire-Frank-Jamie triangle to small crumbs in VOYAGER, a thorough exploration takes place herein, with some interesting insight to enlighten he reader.

As old enemies return to tie off their storylines from novels past and new foes begin to lay roots for long-standing hatred, Jamie and his family grow closer through peril and tragedy, exemplifying that the family fabric can withstand much strain.

old in th way only Gabaldon could, the reader is in for shor and twisted story, but never left to drift too far off the beaten path.Some have commented that his ook ha a turning point in the Outlander series, as it dragged on and began to derail the built momentum.

Much of Gabaldon 's content does play a crucia role in later missives, as he reader ill have discovered in this trilogy.

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© Nicole Waggonner