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Beginning with an anecdote that contrasts online incivility with real-life regret, it frames social media’s tonal harm alongside renewed interest in oral composition. The text argues that effective voice instruction requires attentive listening to one’s own and others’ voices, recognizing embodied vocal patterns, and considering the pedagogical orientation that shapes cultural and discursive outcomes.",{"@graph":69,"@context":114},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/teaching-voice-as-a-method-of-close-listening/598153/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/teaching-voice-as-a-method-of-close-listening/598153.png","ImageObject",300,407,{"name":92,"@type":93},"Mafia Boss","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-05","2026-10-15",true,{"@type":102,"interactionType":103,"userInteractionCount":24},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108],{"name":109,"@type":110,"acceptedAnswer":111},"How does the author’s yoga background influence the approach to voice?","Question",{"text":112,"@type":113},"Yoga trained the author to watch subtle bodily aspects and to treat embodiment as phenomenological appearance rather than simply expression of an innate or socially constructed self.","Answer","https://schema.org",{"og:url":83,"og:type":116,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":118,"canonical":83},"index,follow",{"doc_id":120,"site_id":62},598153,1792188611,{"code":4,"msg":5,"data":123},{"doc_id":120,"user_id":124,"nickname":92,"user_avatar":125,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":126,"file_id":127,"file_url":128,"file_type":129,"file_size":130,"view_count":24,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":131,"language":132,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":133,"faqs":134,"seo_title":135,"seo_description":67,"update_tm":136,"read_time":137,"preview_page_count":4},962090760730,"https://ap-avatar.wpscdn.com/davatar_9964176cb1d06d4a9deccf72a44ae3dc","Teaching Voice as a Method of Close Listening  \nBeth Connors-Manke  \nUniversity of Kentucky  \nRecently, at a show, the bartender told me he couldn’t sell me two beers at once, even though the second was for my friend. You’re a fucking cop, I said, the worst insult imaginable to someone in my online social circle. You’re a narc. I wasn’t so much interacting with a human being, but popping off in his mentions. Soon after, I apologized to the bartender, utterly ashamed. If the interaction had been on Twitter with an audience, dozens of people might’ve applauded me for my irascibility. We think nothing of calling someone a piece of shit online 10 times a day. In real life, it doesn’t feel quite as heroic. It feels ugly.  \n–Luke O’Neil  \nBelieve it or not, I laughed the first time I read this anecdote. Not because I think it’s funny to bea jerk to bartenders, or because I’m part of the Twitter horde that would understand the narc insult. Rather, I laughed because the article from which the story came has a slightly absurd and somewhat self-deprecating tone. (It’s title: “My Candid Conversations with Extremely Online Folks Who Suffer from Internet Broken Brain.”) However, pulled out of that context and pastedon my own page, the anecdote sounds different. Listening to its resonances, I now hear not funny and absurd, but regretful and sober.  \nIn face-to-face conversation, it’s easy to react with shock and moralism to the incivility enabled by social media, easy to lament that we live in an era when communication has gone wrong. We’ve got cyberbullies, flamers, doxers, trolls and more; in recent years, it has felt as if there are throngs of people online who are downright proud of the damage they do.1 They delight in the way their persona sounds in cyberspace and the rhetorical effect their voice has for their audience, which as the story above suggests, may rarely be their interlocutor. But the digital era has also reinvigorated voice—both written and spoken—in other, less toxic, ways. We’ve seen a resurgence in oral composition (think: podcasts), and social media has reared a generation of individuals with sharp, performative skills in text and video. Understanding this situation as one coin with two sides means that we have many pedagogical opportunities when teaching voice in composition. First, becoming attuned to voice means listening—to your own voice and to others’voices—and recognizing the embodied aspect of voice. Second, one should understand that pedagogical and philosophical orientation while listening matters. Third, in thinking about broad cultural and discursive concerns (like those in the barroom anecdote above), teachers might consider how to use voice as a tool that is inventional, expressive, rhetorical, and ethical.  \nEmbodied Acts, Expressive and Rhetorical  \nI did not have my own epiphany about the importance of voice at a bar; rather, mine came by mundane, institutional means. Several years ago, my university made big changes in the first-year writing requirement. What had been a writing class was now a written, oral, and visual communication class. Needless to say, it was a big shift for everyone from departments to  \ninstructors to students to the registrar. For my part, I tried to suss out a methodology that would bridge my own training in literature, composition, and rhetoric with my new charge, oral communication. Eventually, I landed on voice as a bridge for teaching written and oral composition. However, teaching voice well is no easy enterprise, especially across modes. In writing, voice can be hard to pin down, let alone teach, because written voice is a combination of specific technical aspects ofa text—diction, patterns of syntax—and the writer’s sense of self, attitude, and worldview.2 In speaking, voice is breath and sound wave and flesh and hormones; it’s a barometer of emotion, reaction, desire, and confidence; it’s the trace of personal and communal vocal patterns.  \nOnce I landed on voice as my","cbCaiqXHXP69iyGx","https://ap.wps.com/l/cbCaiqXHXP69iyGx","pdf",263314,22,"English","# Teaching voice and listening in composition\n## Online incivility and pedagogical opportunities\n## Embodied acts, expressive and rhetorical","[{\"question\":\"How does the author’s yoga background influence the approach to voice?\",\"answer\":\"Yoga trained the author to watch subtle bodily aspects and to treat embodiment as phenomenological appearance rather than simply expression of an innate or socially constructed self.\"}]","Teaching Voice as a Method of Close Listening | PDF",1792086385,55]