of country songs and romance novels

I love all kinds of music, from opera to Celtic to rock. But in my humble opinion the best storytellers to be found anywhere on the airwaves are consistently on American Country music radio.

From Brad Paisley's "Anything Like Me," in which the singer sees a first sonogram of his son and imagines who he'll grow up to be, to Kenny Chesney's "Somewhere With You," about a man pining for a lost love in a heart-wrenching minor key, the folks who write and sing modern country music are even better than Conway and Loretta were at telling stories that speak to the masses and tug at the heartstrings. What impresses me most is that they do it so effectively in three minutes or less.

One crop of songs that has been resonating lately with the romance writer in me deals with the theme of intimacy, with getting to know another person on a very private level. They focus on the gift of being permitted to see the person that most of us never show to the outside world, and with the trust required to let down your guard and expose the silly, messy, vulnerable and sexy sides of yourself to a lover.

can you hear me?

"Sing, sing a song, sing out loud, sing out strong..."

I'm currently reading Eat, Pray, Love. I know, I know, I'm way behind the curve, but I've been reading a lot of romances and middle-grade/young adult fiction, filling the well of inspiration for my own work. I really want to see the movie -- I *love* Julia Roberts, and Javier Bardem looks positively yummy -- but for some inscrutable reason, I can't bring myself to buy a ticket until I've read the book. The Universe insists, and I've long since learned not to argue.

I don't read many memoirs. I think the last one may have been Joan Didion's National Book Award-winning The Year of Magical Thinking. Unfortunately, that book -- brilliant as it was -- quashed my desire to read more memoirs. After a year of almost daily miracles, which Didion moved past without seeming to notice, she concluded that there is no God, "no eye on the sparrow." It depressed me for weeks.

The movie trailers make it clear, though, that Eat, Pray, Love is a celebration, not a pity-wallow. So I'm reading it. And if ever there were an antidote for Didion's hopelessness, this is it.

Elizabeth Gilbert deals with weighty subjects, but the woman is hilarious. In real life we'd probably start shouting at each other within five minutes of meeting -- our politics are polar opposites -- but I love her on the page. Possibly because of the journey she chronicles in the book, she has a wonderful sense of the ridiculousness of her own existence, the insanity of taking herself and her life as seriously as we all tend to do most of the time. It's downright refreshing. But it's not just her outlook that entertains. It's the way she expresses it, the fresh similes and memorable images she uses to sear her truths onto the reader's brain. Her voice comes through, loud and clear, insecure yet brash, on each and every page.

As a novelist, I struggled long and hard to put my finger on that elusive must-have known as voice. Ask an editor to give you an example of voice, and it's likely she'll point you to a story full of dialect. But dialect is not voice; for someone grappling with what voice is, finding it in a book full of dialect is an exercise in futility. In memoir, though, nothing stands in the way. The writer doesn't have to be anyone other than who they are, so their personality is free to come out on the page, unfettered and true. I've never read a better, more in-your-face example of voice than Gilbert's. So if you're a writer who struggles to understand what voice is, read Eat, Pray, Love. I guarantee you'll finally hear it and know, on a gut level you'll never forget, what it is.