Who Wrote The Outlander Saison 8 Faith Episode Scripts?

Genuinely excited to talk about this — the episode titled 'Faith' from season eight of 'Outlander' carries the kind of writing pedigree that longtime fans recognize instantly. The televised script is credited with the teleplay by Matthew B. Roberts, with the story credited to Diana Gabaldon. That pairing makes total sense: Gabaldon provides the source material and story guidance rooted in her novels, while Roberts handles the nuts-and-bolts of turning those beats into a TV script that works pacing-wise and dramatically for an hour-long episode.

I love how that creative relationship plays out on-screen. Roberts has been a reliable hand on the series for years, shaping dialogue and scene structure in a way that preserves the tone of Gabaldon’s prose while making sure every episode breathes visually. Gabaldon’s story credit means she’s actively involved in plotting and major character moves — not just letting the show adapt her books from afar. It’s a collaboration that keeps the series feeling authentically tied to the novels while still functioning as smart television.

If you look at the episode’s end credits, you’ll see those exact names, and the rest of the writing room and producing team influence the final shape, too. There’s a whole mix of story editors, producers, and the showrunner who weigh in on beats, but the official writing credit goes to Roberts for the teleplay and Gabaldon for the story. Personally, knowing those two names next to 'Faith' made me watch for the small touches — lines of dialogue that felt very Gabaldon and structural moves that feel like Roberts’ TV instincts. It landed for me in that emotionally resonant place I’ve come to expect.

Alright, short and warm take: the credited writers for 'Faith' in season eight of 'Outlander' are Matthew B. Roberts (teleplay) and Diana Gabaldon (story). To my ear and heart, that combo means the episode is both faithful to the novel’s emotional core and neatly adapted for television structure. Roberts usually shapes the scene-to-scene flow and the snappy TV dialogue, while Gabaldon’s story credit signals she’s steering the big character choices and thematic threads.

I always enjoy spotting where the novelist’s fingerprints show up versus the screenwriter’s, and with these two on the byline, 'Faith' felt balanced — anchored in the lore of the books but paced for the screen. That mix kept me hooked and quietly satisfied by the character moments, so it worked for me.