powerful voices essay

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Don’t Underestimate the Power of Your Voice

• Dan Bullock
• Raúl Sánchez

It’s not just what you say, it’s how you say it.

Our voices matter as much as our words matter. They have the power to awaken the senses and lead others to act, close deals, or land us successful job interviews. Through our voices, we create nuances of meaning, convey our emotions, and find the secret to communicating our executive presence. So, how do we train our voices to be more visceral, effective, and command attention?

• The key lies in harnessing our voices using the principles of vocalics. Vocalics primarily consists of three linguistic elements: stress (volume) , intonation (rising and falling tone), and rhythm (pacing). By combining vocalics with public speaking skills, we can colors our words with the meaning and emotion that motivates others to act.
• Crank up your volume: No, we don’t mean shout. The effective use of volume goes beyond trying to be the loudest person in the room. To direct the flow of any conversation, you must overtly stress what linguists call focus words. When you intentionally place volume on certain words, you emphasize parts of a message and shift the direction of a conversation toward your preferred outcome.
• Use a powerful speech style: The key to achieving a powerful speech style, particularly during job interviews and hiring decisions, is to first concentrate on the “melody” of your voice, also called intonation. This rise or fall of our voice conveys grammatical meaning (questions or statements) or even attitude (surprise, joy, sarcasm).
• Calibrate your vocal rhythm with the right melody: Our messages are perceived differently depending on the way we use rhythm in our voices. Deliberately varying our pacing with compelling pauses creates “voiced” punctuation, a powerful way to hold the pulse of the moment.

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• Dan Bullock is a language and communications specialist/trainer at the United Nations Secretariat, training diplomats and global UN staff. Dan is the co-author of How to Communicate Effectively with Anyone, Anywhere (Career Press, 2021).   He also serves as faculty teaching business communication, linguistics, and public relations within the Division of Programs in Business at New York University’s School of Professional Studies. Dan was the director of corporate communications at a leading NYC public relations firm, and his corporate clients have included TD Bank and Pfizer. 
• Raúl Sánchez is an award-winning clinical assistant professor and the corporate program coordinator at New York University’s School of Professional Studies. Raúl is the co-author of How to Communicate Effectively with Anyone, Anywhere (Career Press, 2021). He has designed and delivered corporate trainings for Deloitte and the United Nations, as well as been a writing consultant for Barnes & Noble Press and PBS. Raúl was awarded the NYU School of Professional Studies Teaching Excellence Award and specializes in linguistics and business communication.

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Silence and powerlessness go hand in hand – women’s voices must be heard

Being unable to tell your story is a living death. The right to speak is a form of wealth that is being redistributed. No wonder powerful men are furious

S ilence is golden, or so I was told when I was young. Later, everything changed. Silence equals death, the queer activists fighting the neglect and repression around Aids shouted in the streets. Silence is the ocean of the unsaid, the unspeakable, the repressed, the erased, the unheard. It surrounds the scattered islands made up of those allowed to speak and of what can be said and who listens.

Silence occurs in many ways for many reasons; each of us has his or her own sea of unspoken words. English is full of overlapping words, but for the purposes of this essay, regard silence as what is imposed, and quiet as what is sought. The tranquillity of a quiet place, of quieting one’s own mind, of a retreat from words and bustle is acoustically the same as the silence of intimidation or repression, but psychically and politically something entirely different. What is unsaid because serenity and introspection are sought and what is not said because the threats are high or the barriers are great are as different as swimming is from drowning. Quiet is to noise as silence is to communication.

The quiet of the listener makes room for the speech of others, like the quiet of the reader taking in words on the page, like the white of the paper taking ink. “We are volcanoes,” Ursula Le Guin once remarked. “When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains.” The new voices that are undersea volcanoes erupt in what was mistaken for open water, and new islands are born; it’s a furious business and a startling one. The world changes. Silence is what allows people to suffer without recourse, what allows hypocrisies and lies to grow and flourish, crimes to go unpunished. If our voices are essential aspects of our humanity, to be rendered voiceless is to be dehumanised or excluded from one’s humanity. And the history of silence is central to women’s history.

Words bring us together, and silence separates us, leaves us bereft of the help or solidarity or just communion that speech can solicit or elicit. Some species of trees spread root systems underground that interconnect the individual trunks and weave the individual trees into a more stable whole that can’t so easily be blown down in the wind. Stories and conversations are like those roots.

Being unable to tell your story is a living death, and sometimes a literal one. If no one listens when you say your ex-husband is trying to kill you, if no one believes you when you say you are in pain, if no one hears you when you say help, if you don’t dare say help, if you have been trained not to bother people by saying help. If you are considered to be out of line when you speak up in a meeting, are not admitted into an institution of power, are subject to irrelevant criticism whose subtext is that women should not be here or heard.

Stories save your life. And stories are your life. We are our stories; stories that can be both prison and the crowbar to break open the door of that prison. We make stories to save ourselves or to trap ourselves or others – stories that lift us up or smash us against the stone wall of our own limits and fears. Liberation is always in part a storytelling process: breaking stories, breaking silences, making new stories. A free person tells her own story. A valued person lives in a society in which her story has a place.

Violence against women is often against our voices and our stories. It is a refusal of our voices, and of what a voice means: the right to self-determination, to participation, to consent or dissent; to live and participate, to interpret and narrate.

A husband hits his wife to silence her. A date rapist or acquaintance rapist refuses to let the “no” of his victim mean what it should, that she alone has jurisdiction over her body. Rape culture asserts that women’s testimony is worthless, untrustworthy. Anti-abortion activists also seek to silence the self-determination of women. A murderer silences forever.

These are assertions that the victim has no rights, no value – is not an equal.

Other silencings take place in smaller ways: the people harassed and badgered into silence online, talked over and cut out in conversation, belittled, humiliated, dismissed.

Having a voice is crucial. It’s not all there is to human rights, but it’s central to them, and so you can consider the history of women’s rights and lack of rights as a history of silence and breaking silence. Speech, words, voices sometimes change things in themselves when they bring about inclusion, recognition: the rehumanisation that undoes dehumanisation. Sometimes they are only the preconditions to changing rules, laws, regimes to bring about justice and liberty.

Sometimes just being able to speak, to be heard, to be believed, are crucial parts of membership in a family, a community, a society. Sometimes our voices break those things apart; sometimes those things are prisons.

And then when words break through unspeakability, what was tolerated by a society sometimes becomes intolerable. Those not impacted can fail to see or feel the impact of segregation or police brutality or domestic violence; stories bring home the trouble and make it unavoidable.

By voice, I don’t mean only literal voice – the sound produced by the vocal cords in the ears of others – but the ability to speak up, to participate, to experience oneself and be experienced as a free person with rights. This includes the right not to speak, whether it’s the right against being tortured to confess, as political prisoners are, or not to be expected to service strangers who approach you, as some men do to young women, demanding attention and flattery and punishing their absence.

Who has been unheard? The sea is vast, and the surface of the ocean is unmappable. We know who has, mostly, been heard on the official subjects; who held office, commanded armies, served as judges and juries, wrote books, and ran empires over past several centuries. We know how it has changed somewhat, thanks to the countless revolutions of the 20th century and after – against colonialism, racism, misogyny, against the innumerable enforced silences homophobia imposed, and so much more. We know that in the US, class was levelled out to some extent in the 20th century and then reinforced towards the end, through income inequality and the withering away of social mobility and the rise of a new extreme elite. Poverty silences.

Silence is what allowed predators to rampage through the decades unchecked. It’s as though the voices of these prominent public men devoured the voices of others into nothingness, a narrative cannibalism. They rendered them voiceless to refuse and afflicted with unbelievable stories. Unbelievable means those with power did not want to know, to hear, to believe, did not want them to have voices. People died from being unheard.

If the right to speak, if having credibility, if being heard is a kind of wealth, that wealth is now being redistributed. There has long been an elite with audibility and credibility, and an underclass of the voiceless.

As the wealth is redistributed, the stunned incomprehension of the elites erupts over and over again, a fury and disbelief that this woman or child dared to speak up, that people deigned to believe her, that her voice counts for something, that her truth may end a powerful man’s reign. These voices, heard, upend power relations.

A hotel cleaner launched the beginning of the end of IMF chief Dominique Strauss-Kahn’s career . Women have ended the careers of stars in many fields – or rather those stars have destroyed themselves by acts they engaged in, believing that they had the impunity that comes with their victims’ powerlessness. Many had impunity for years, some for lifetimes; many have now found they no longer do.

Who is heard and who is not defines the status quo. Those who embody it, often at the cost of extraordinary silences with themselves, move to the centre; those who embody what is not heard, or what violates those who rise on silence, are cast out.

By redefining whose voice is valued, we redefine our society and its values.

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The Sound of Status: People Know High-Power Voices When They Hear Them

• Auditory Perception
• Personality/Social
• Psychological Science
• Social Cognition
• Social Perception

Being in a position of power can fundamentally change the way you speak, altering basic acoustic properties of the voice, and other people are able to pick up on these vocal cues to know who is really in charge, according to new research published in Psychological Science , a journal of the Association for Psychological Science .

We tend to focus on our words when we want to come across as powerful to others, but these findings suggest that basic acoustic cues also play an important role:

The researchers had long been interested in non-language-related properties of speech, but it was former UK prime minister Margaret Thatcher that inspired them to investigate the relationship between acoustic cues and power.

“It was quite well known that Thatcher had gone through extensive voice coaching to exude a more authoritative, powerful persona,” explains Ko. “We wanted to explore how something so fundamental as power might elicit changes in the way a voice sounds, and how these situational vocal changes impact the way listeners perceive and behave toward the speakers.”

Ko, along with Melody Sadler of San Diego State and Adam Galinsky of Columbia Business School, designed two studies to find out.

In the first experiment, they recorded 161 college students reading a passage aloud; this first recording captured baseline acoustics. The participants were then randomly assigned them to play a specific role in an ensuing negotiation exercise.

Students assigned to a “high” rank were told to go into the negotiation imagining that they either had a strong alternative offer, valuable inside information, or high status in the workplace, or they were asked to recall an experience in which they had power before the negotiation started. Low-rank students, on the other hand, were told to imagine they had either a weak offer, no inside information, or low workplace status, or they were asked to recall an experience in which they lacked power.

The students then read a second passage aloud, as if they were leading off negotiations with their imaginary adversary, and their voices were recorded. Everyone read the same opening, allowing the researchers to examine acoustics while holding the speech content constant across all participants.

Comparing the first and second recordings, the researchers found that the voices of students assigned to high-power roles tended to go up in pitch, become more monotone (less variable in pitch), and become more variable in loudness than the voices of students assigned low-power roles.

“Amazingly, power affected our participants’ voices in almost the exact same way that Thatcher’s voice changed after her vocal training,” says Galinsky.

And the students’ vocal cues didn’t go unnoticed. A second experiment with a separate group of college students revealed that listeners, who had no knowledge of the first experiment, were able to pick up on these power-related vocal cues to determine who did and did not have power: Listeners ranked speakers who had been assigned to the high-rank group as more likely to engage in high-power behaviors, and they were able to categorize whether a speaker had high or low rank with considerable accuracy.

In line with the vocal changes observed in the first experiments, listeners tended to associate higher pitch and voices that varied in loudness with high-power behaviors. They also associated louder voices with higher power.

“These findings suggest that listeners are quite perceptive to these subtle variations in vocal cues and they use these cues to decide who is in charge,” says Galinsky.

This research was partially supported by a grant to the first author from the Dispute Resolution Research Center at Northwestern University.

All data and materials have been made publicly available via Open Science Framework and can be accessed at https://osf.io/cw6y8/?view_only=24a186cebd52441ea0170ed63caf70ab and https://osf.io/5hzv9/?view_only=94aa2b0312c3463493ca6f61c5fc3811 , respectively. The complete Open Practices Disclosure for this article can be found at http://pss.sagepub.com/content/by/supplemental-data .

This article has received badges for Open Data and Open Materials. More information about the Open Practices badges can be found at https://osf.io/tvyxz/wiki/view/ and http://pss.sagepub.com/content/25/1/3.full .

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For more information about this research, please contact study authors: Sei Jin Ko

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The Power of Using your voice

A voice is a tool that transports us into the future. A future that has more possibilities and more solutions. A voice is a tool that can be used for standing up for what is right, rather than what is easy. A voice gives your opinions a platform, and gifts you with the opportunity to have perspective and knowledge on things that matter. No two voices are the same, each voice has something different to say. And in a world that needs to represent freedom and democracy, a voice is a powerful symbol of this. It is what has allowed people to protest injustice, to sing for freedom, or simply speak the truth. A voice can be a source of hope in difficult times.

Using your voice for the truth is important to create a better world. Everyone’s voice matters. It is important to not let yourself become silenced, because when a voice is not used it prevents the opportunity for a true democracy where each voice is valued in a peaceful manner. Voices convey passion and excitement; voices can convey anything, whether it’s a feeling, a place, or an idea. In a way, voices are a superpower if you know how to use it.

Voices can be used to create change. People can take anything material from you, but your voice is one of the things that cannot be taken away. Voices are meant to encourage other voices too, to unite and support each other.  One of the most powerful things someone can do is to use their voice. 

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How A Position Of Power Can Change Your Voice

Nell Greenfieldboyce

How would you sound in front of an NPR microphone? Meredith Rizzo/NPR hide caption

How would you sound in front of an NPR microphone?

Most radio reporters, I think it's fair to say, think about their voices a lot, and work to sound powerful and authoritative. I know my voice has changed since my very first radio story 10 years ago:

Nell Greenfieldboyce reports on crows

Compare that with how I sound these days:

An older and wiser Nell reports on polar bears

That's why I was intrigued by a recent study in the journal Psychological Science on the voice of authority. Scientists wanted to hear if people's voices change in predictable ways when they are put into positions of power. Plus, they wondered if listeners could detect those changes.

Sei Jin Ko, a social psychology researcher at San Diego State University, explains that over a hundred college students came in to their lab to have themselves recorded, starting with a recording of their everyday voices.

Then they were asked to imagine a scenario involving the purchase of a new car. Some people were told they were in a position of high power — they had inside information or lots of other offers to choose from. Meanwhile, others were told they had very little power.

Both groups were then recorded reading the same text out loud. "It was something to the effect of, 'I'm glad we're meeting today to discuss this, we have a few differences that we'll need to iron out before we come to an agreement,' something like that," Ko explains.

Researchers took the recordings and looked for differences between the two groups by analyzing acoustical features, such as pitch, resonance and intensity.

It turned out that feelings of power are reflected in people's voices, says Ko. "When you put them in the situation, their voices change," says Ko. "I think that's very, very exciting and quite powerful, shall we say — no pun intended."

She says the voice of a person given more power was steadier and less singsongy, but also more dynamic "because it increased in pitch and intensity variability, so they went in and out of loudness more than those in low power."

The recordings from her study have to be kept private, but she says you can hear almost exactly the same features in recordings of Margaret Thatcher's voice. "I'd always been fascinated by Margaret Thatcher's voice, because I knew that she went through voice coaching to sound more authoritative," says Ko.

Here's Thatcher early in her career:

Margaret Thatcher, on her way up

And later on:

Margaret Thatcher, after her ascent

Ko says the changes Thatcher seems to have deliberately made in her voice were almost identical to the changes made automatically by the speakers given power in her study. "That was quite remarkable," Ko says.

She and her colleagues did another study using the voice recordings they'd made. They wanted to know if listeners could tell who had power and who didn't. And, as it turns out, listeners could. "They do use these characteristics to make very accurate predictions of whether the speaker is the boss or not," says Ko.

Just for fun, I sent Ko an audio clip from early in my radio career and asked her run a comparison with the way I sound now.

She found changes in three of the six features that seemed key in their study. "You're much less singsongy, actually a huge difference," Ko told me.

Lots of things are probably at play here. I'm 10 years older, and now I'm way more comfortable in front of a microphone. And, as Ko's study shows, we may unconsciously be changing our voice all the time, depending on the circumstances.

Ko says that sometimes, just by overhearing someone, you can almost tell if he or she is speaking to a spouse, or a child or a colleague at work. But there actually hasn't been much research into how people's voices vary when they're put into one situation rather than another. "That's what's amazing," says Ko. "It's practically unstudied."

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20 Sep, 2019   |   

The power of your voice.

Incredible people throughout history have used their voices to create change. Maya Angelou was a poet and an activist who used her voice in support of the Civil Rights Movement. Jazz Jennings is a teenager who got her claim to fame by becoming an American YouTube personality as an LGBT rights activist and a transgender woman. 

The misconception is that you don’t have to be famous or have a million followers on Instagram to be able to empower someone or make a difference in the lives of others. There are many ways, both big and small, you can use your voice for the betterment of communities throughout the globe, despite how young or old you may be.

Express generosity, compassion, and understanding with complete strangers.

There is something spectacular that happens when a complete stranger passes you in the street and compliments your shoes or holds a door open for you for fifteen minutes because they see you coming a mile away and weirdly enough still says “thank you” instead of “you’re welcome” like you just did them the favor. 

While receiving is a great feeling, giving is exponentially more rewarding. Maybe you see someone on the subway who has been crying and you tell them, “Everything is going to be okay,” even though you don’t know their true circumstances. Use your voice to express something positive to someone you don’t know. It could easily make their day, and yours, too.

Empower someone who is younger than you.

Through music, books, movies, and social media, there are many ways in which we are influenced. Whether it is how we look on the outside or what types of things we think are “cool,” there will always be outside sources in society telling us what we should and should not like. Children and teenagers are more susceptible to the influences of various media sources than adults are because their minds are still trying to figure out who they really are. 

Speaking of social media…

Since we are on the topic of social media, you can always vocalize through text, photos, or videos. We are lucky enough to be living in a digital age of fast and easy communication. It allows us to be a part of something bigger and connect with people all around the world. Whether you are advocating for environmental change or just sending out positive vibes to your followers, you can use social media for good whether you have ten friends or ten million likes.

Use your voice for forgiveness.

Did you know that holding grudges can actually be bad not only for your mental health but for your physical health too? Negative emotions can lead to increased anxiety or depression, which can ultimately increase your blood pressure and heart rate. It can also cause physical pain in your body like lower back discomfort or arthritis. Take some time to reflect on the grudges you hold in your life. Speak to those people and use the power of your voice to forgive someone. It will not only make you feel better, but it will also help provide a sense of gratitude from the person receiving your forgiveness.

There are many ways in which you can use the power of your voice for good. In what way will you use your voice today?

Video: An Experiment in Gratitude – The Science of Happiness

“Love, I was confused and made you wait I should have listened to my heart, I shouldn’t need to validate Who I love, now I’ve finally been set free Cause the person here in front of you, He’s finally, really, me.” Really Me © Up with People

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Table of Contents

Collaboration, information literacy, writing process, making sure your voice is present.

• CC BY-NC-ND 4.0 by Kyle D. Stedman

The Terror of Voice

I like order. I love the comfort of a beautiful and functional Excel spreadsheet. I organize my CDs by genre and then alphabetically by artist. I eat three meals a day.

But my love of order sometimes butts heads with my love of writing. That’s because no matter how much attention I pay to following the rules of writing, I know that to produce writing that astounds readers—moving them, making them gasp, enticing them—I’ll have to include more than just  correct  writing. I’ll need to find a way to make my voice present.

And sometimes, that terrifies me with the uncertainty of it all. I sometimes wish writing excellently were like working in Excel. I know I can make a spreadsheet absolutely perfect if my formulas are coded properly and my data is lined up correctly. Writing excellently is messier than that: it means admitting the difficult truth that even when everything in my essay follows all the grammatical and mechanical rules, my writing can still lack qualities that will make my readers’ eyes pop out of their heads with delightful surprise.

I often tell my students that the difference between A -level and B -level writing is voice. In other words, essays often deserve B ’s even when they have perfect punctuation and grammar, an intriguing concept, brilliant ideas, excellent and well-integrated sources, and a Works Cited page that would earn a standing ovation at the annual MLA convention. An essay can have all of those things but still feel dry and voiceless, reading like a dying man trudging through the desert, sandal-slap after sandal-slap, lifeless sentence after lifeless sentence.

So What is Voice in Writing?

“Voice” is a weird term, right? We usually say your voice is the quality of how you sound when you talk out loud—but aren’t we talking about writing?

First, let’s think about everything that makes your speaking voice distinctive. It has its own aural quality, formed by the size of your mouth, throat, and tongue, along with your distinctive habits of how you use your body to manipulate the sound of the air exhaling from your lungs.

But beyond the sounds your body naturally produces through your mouth, you also have your own way of choosing words, and that’s part of your voice, too. You have words you use more often than others, phrases you rely on, and ways you make the musical tone of your voice go up and down in distinct ways. All of those choices are partly based on how you learned to speak in your family and culture, and they’re partly based on what you bring to the table as an individual. Sometimes you just let out whatever you’re thinking, and sometimes you pause to consider how you want to sound.

Don’t miss that: qualities of spoken voice are, to some extent, chosen . Depending on where and when and with whom we’re speaking, our voice can change.

Now let’s turn to writing. I would define voice in writing as the quality of writing that gives readers the impression that they are hearing a real person, not a machine . Voice in writing is therefore multifaceted: it’s partly an unconscious, natural ring that dwells in the words you write, but it’s also related to the words you choose (stuffy and overused or fresh and appealing?), the phrases you rely on (dictionary-like or lively?), and how you affect your readers’ emotions (bored or engaged?). And it’s not something that is magically there for some writers and not there for others. Voice is something that can be cultivated, practiced, watered, even designed.  

I’m reminded of a quote from poet D.A. Powell, which I heard on the trailer for a documentary called Bad Writing . He says, “Bad art is that which does not succeed in cleansing the language of its dead—stinking dead—usages of the past” (MorrisHillPictures). Voice in writing is like that: it gives readers the sense that they’re hearing a fresh, cleansed voice unlike any they’ve heard before.

The writing in this documentary is called “bad” because of its lack of an authentic voice.

We Need Voice in Academic Writing, Too

A common misconception among writers is that writing for college, especially in a fancy-looking, citation-filled essay, should have the complexity and difficulty of Pride and Prejudice : “She is all affability and condescension, and I doubt not but you will be honoured with some portion of her notice when service is over” (Austen). That is, we sometimes assume that academic writing is where we say things with big words and in roundabout ways that seem sort of something like what we imagine talk is like around a gilded dinner table in a palace, somewhere.

I think this assumption is wrong. Even when reading essays that were written for college classes, readers don’t want to be bored or confused. They want liveliness; they want voice. Listen to veteran writing teacher Donald Graves use all of his cute-old-man powers to beg you to use your personal voice in even your standardized writing tests:

Donald Graves on the importance of putting voice in your writing

I recently taught a class that focused entirely on blogging for the first thirteen weeks of the course, followed by a final academic essay at the end of the semester. Students regularly asked me what style they should adopt in their final essay, how formal to be, what kind of voice to adopt. To most of the students, my reply was, “Write it how you wrote your blog!” To which almost all of them said, “Huh? That was informal . This is formal .” To which I said, “You’re partly right. You paid less attention to details when you were blogging, sure, but your voices were there. You used sentences that sounded like you! They were resonant ! I was moved ! Do you hear the italics in my voice? That’s how good your writing was! So don’t lose that by putting on a new coat of formality when it doesn’t fit well!” As the one who was going to read their academic essays, I was afraid that I was going to get a bunch of essays that sounded like Pride and Prejudice , with big words and roundabout sentence constructions. I wanted big, complex ideas in these final essays, but I also wanted stylistic liveliness, sentences that made me sit up straight and open my eyes wide. I admit that after the students had written first drafts of their essays, I backed off a little, and we talked about the ways that formal writing situations do indeed demand a different kind of voice than a blog post—but I was always insistent that no writing situation called for bored readers.

You should know this: teachers talk about their students. And I’ve heard the following story, or some variant of it, something like twenty times: “My student wrote this awful draft that confused me to no end. So I emailed the student and told him to come in to my office to talk about it. And he gets there to my office and I say, ‘What are you trying to say on page 2?’ and he explains it, and—get this!—he explains it in this beautifully clear language, and it becomes clear that he knew all along what he wanted to talk about and how to defend it and even how his ideas relate to his sources. So I asked him, ‘Why didn’t you write it that way? Why don’t you write the way you talk?’ and you know what he says? He says, ‘Because I thought I was supposed to write formally.’ I swear, sometimes I think students get into more trouble trying to write formally than it’s worth.”

I’m serious. Every semester, I hear that story.

Of course, I see the other side: there’s a place for formality in a lot of writing. Depending on the circumstance, sometimes our most formal coat is indeed what we need to wear. In your future college classes, you might not get much of an idea from your professor about what kind of coat they expect you to wear, so you’ll probably have to do some asking. (“Dear Professor X, I’m baffled about what kind of voice to use in my essay. For example, may I write the word baffled ? Please send examples. Sincerely, Judy Jetson.”)

My favorite trick here is one I learned from a small writing textbook called They Say, I Say : purposefully mixing the formal and informal in a single sentence or two. If you want to talk about something using a formal term, which is often a good idea in formal writing, use the formal term but then turn around and say it again informally. Like this: “Spoken voice is affected by our use of the epithelium, the vocal ligament, and the vocalis muscle. We’ve got a lot of ways to make sound.” The authors of They Say, I Say remind us that “translating the one type of language into the other, the specialized into the everyday, can help drive home a point” (Graff, Birkenstein, and Durst 118).

That leads me to the stuff you’re probably here for: actual ideas about how to get this elusive thing called voice into your writing.

Suggestions

1. Trust the gush—but then come back to the gush with a critical eye.

In one of my favorite articles about voice in writing, writing scholar Tom Romano tells the story of a student who turned in a piece of paper with the words “TRUST THE GUSH” messily scribbled on it. Romano expounds on what the phrase means to him:

Trusting the gush means moving on the heat quickening in you. Trusting the gush means being fearless with language. Trusting the gush means writing about what you are emotionally moved by and perhaps don’t even know why. Trusting the gush means putting onto the page those thoughts, connections, and perceptions that stand ready to be uttered. (51)

It’s beautiful advice that feels true to me. I’ve had times where I turn off the screen of my computer and write with no visual reference, letting words gush out of me in their most natural, voice-filled way.   

But remember how I said that voice isn’t just natural, it’s also constructed for specific occasions? My gush is usually full of some good, usable words, phrases, and sentences, but it’s also a big, gushy mess. So that’s when I back away for a bit of time (more than a day, if possible), returning later to my gush in search of the lines that seem most lively, most full of voice, the ones that fit best into my current writing context.

2. Don’t be afraid to use some of speech’s informalities, but always punctuate them in formal ways.

Sometimes students ask if they can use contractions in their academic essays, and I always say yes—but then I regret it when I get “theyre not understanding” and “he said your not smart enough” in submitted work. But on the flip side, I find I’m more willing to be lenient with student writing that is slightly too informal for my taste when the writer shows that they know what they’re doing with their punctuation. Life is like that, you know? If you take one step of goodwill (knowing your punctuation), people want to give you lenience in other areas (accepting informality, even if it seems to step over the line).

This advice extends to colons (never mistaking them for semicolons and never using a hyphen as a colon), em-dashes (using them wisely and punctuating them perfectly, as two hyphens between two words and no spaces at all), and commas (especially when someone is being addressed, as in “I agree, Mr. President” and when introducing a quotation immediately after a verb, such as when I write, “Yessiree”).

3. Read your work aloud—and don’t be afraid to have fun with it.

I tell students to read their stuff aloud all the time, and usually I get a scared, silent look in return. (I think this look might mean, “Do you have any idea how stupid I would look if someone walked in while I was talking to myself?”) Well, fine—play around with it:

• Read your own stuff aloud to yourself. I like to do this after printing it out. Listen for places where you stumble, where you seem to be saying the same word over and over, where you think you might be boring. Peter Elbow justifies this well :

I find that when students have the repeated experience of reading their writing aloud, they are more likely to write sentences that are inviting and comfortable to recite—which in turn makes the sentences better for readers who get them in silence. Putting this differently, the sound of written words when spoken is a crucial benefit for silent readers, yet too few students hear the words they write. When they have to read their writing aloud frequently and thus hear it, they tend to listen more as they write—and readers hear more meaning as they read. (5)

• Have someone else read your stuff aloud to you, with another copy in front of yourself to follow along with and mark spots that feel voiceless. Ask your friend what sounded best, what they most remember on the sentence level, where it sounded like you .
• Play The Boring Game: have three people sit down, each with a piece of paper with a line drawn through the middle; this is The Boring Line. Make one person the timekeeper. Start reading your essay out loud to them, and ask the timekeeper to raise his hand every thirty seconds. At those moments, the readers all make a dot on the paper to show how bored they are; a dot way above the boring line means they’re absolutely engaged, as if beautiful aliens had just transported into the room, while a dot way below the boring line means they’re wondering why they agreed to play the stupid boring game with you. After the essay is done, ask them to connect the dots, showing you a line of where they were relatively more or less bored. Talk to them to help identify what parts of the essay bored them; you probably didn’t have much voice in those spots.

4. Surprise Your Readers

I’m serious: make sure that throughout your piece, every once in a while you throw in a word or phrase that makes you think, “I bet they never saw that one coming!” (In this piece that you’re reading now, one of my attempts at that is my first heading, “The Terror of Voice.” I’m counting on readers thinking, “Wait, the terror of voice? . . . I’m confused! I’d better read on to figure out what he means!”)

My guess is that with a little practice, this won’t be too hard to achieve. You could read through a draft of something and highlight (either on paper or the computer) every place where you think you’re breaking the expectation of your reader in a surprising way, whether because of the topic you chose to dive into or because of a phrase or sentence they might not have seen coming. Then you skim back through and find places without any highlights around, and try to work something in there.

As with most of my suggestions, this can backfire if you take it too far, which is why I think playing The Boring Game (above) is so important, so you can feel out your choices with real people. Obviously, your readers will be surprised if you start slamming sexually explicit words onto the screen, but that’s clearly not the kind of voice I’m talking about. Less dramatically, I’ve been in situations where I go for a strong, surprising personal voice and later discover (on my own, or with the help of someone else) that it’s just not working for that audience.

This happened to me recently when I was writing a piece about integrating sources into essays. I worked up this detailed analogy involving Jane Austen, gardens, statues, and helicopters (seriously), and I even kept the analogy through a few drafts. But a friend, whom I had asked to read my draft, told me she was a little confused by the whole thing. At first I ignored her—I was being surprising! There were helicopters— helicopters ! But eventually, I realized she was right; I had to back down and rework my surprising analogy into something that just plain made more sense. The revised version was still surprising (involving Spider-Man), but it was surprising and it worked . There’s a difference.

5. Use Rhetorical Figures to Help Shape Your Sentences

Sometimes we hear or read something and say, “Wow, there was so much power in those words!” And sometimes, we fall for a common lie: we think that powerful speakers and writers are just plain born that way, that their skill comes from some indefinable something that they have and we don’t.

I like rhetorical figures because they expose that thinking as a lie.

Since the days of classical Greece and Rome, instructors in rhetoric have realized that this lie existed, so they formulated organized ways of figuring out what exactly makes some speaking and writing feel so powerful. They labeled these terms and encouraged their students to try using these sentence forms in their own sentences. Here are some examples, all of which are direct quotes from Silva Rhetoricae: The Forest of Rhetoric , an awesome site at http://rhetoric.byu.edu/ (Burton):

• anaphora : Repetition of the same word or group of words at the beginning of successive clauses, sentences, or lines. Example: This blessed plot, this earth, this realm, this England, / This nurse, this teeming womb of royal kings.
• asyndeton : The omission of conjunctions between clauses, often resulting in a hurried rhythm or vehement effect. Example: Veni, vidi, vici (Caesar: “I came; I saw; I conquered”)
• epitasis : The addition of a concluding sentence that merely emphasizes what has already been stated. Example: Clean your bedroom. All of it.

These and dozens of others are available at Silva Rhetoricae and at the (somewhat more manageable) American Rhetoric site, especially the page on “ Rhetorical Figures in Sound ” (Eidenmuller).

The idea is to force yourself to try setting up a sentence or two following the guidelines of one of the rhetorical figures, and then to sit back and gauge the result for yourself. Often, I think you’ll be impressed with how excellent you sound, with a very present and powerful tone of voice.

The Terror of Practice

In the end, there’s one more terrifying thing about writing with voice: it’s unlikely that you’ll see a huge change without lots of practice. And that means lots of writing. And that means time. Which you might not have.

So I’m closing with a word of moderation. To see a change in your writing voice in just a short semester, you’ll need to think about voice in every piece of writing you do. Shooting off a quick Blackboard forum response? Try using a rhetorical figure. Confirming a meeting time with a friend over text message? Try to surprise them with an unexpected phrase. Writing an in-class essay? Read it over slowly in your head, paying careful attention to how it would sound if you read it out loud. (Or, if your teacher lets you, just read it out loud there in the classroom. This is unlikely.) Writing an essay draft that feels like busy-work? Play around with how you might perfectly punctuate some informal language (and don’t be afraid to ask your teacher if you did it correctly).

Even though a YouTube search for “voice in writing” will give you lots of good advice—including one devastatingly cute video of young kids baking brownies while the “Word Chef” talks about what makes for a strong voice in a book about a cockroach (teachertubewriting)—there really is no substitute for practice. Thinking about writing is never, ever the same as practicing writing.

And most of all, breathe. Our voice comes from our breath, the life that flows from our bodies into the minds of our listeners. Shape it, practice it, use it for good. (That’s asyndeton—did you catch it?)

Brevity – Say More with Less

Clarity (in Speech and Writing)

Coherence – How to Achieve Coherence in Writing

Flow – How to Create Flow in Writing

Inclusivity – Inclusive Language

The Elements of Style – The DNA of Powerful Writing

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Your Writing “Voice”

What Is Voice in an Academic Essay or Some Other Type of Composition?

Voice has at least two distinct meanings:

• The audible sound of a person speaking (e.g., high-pitched, rhythmic, loud, soft, accent, pace). Even in writing, the author’s words create the “sound” of the writer talking. Effective writers can control the sound of their words in their readers’ heads.
• The communicator’s implied beliefs and values. Every utterance conveys the impression of a person behind the words—a “self” that may be authentic or constructed as a persona. This “self” can extend beyond an implied personality to include the communicator’s political, philosophical, and social values as well as his or her commitment to certain causes (civil rights, gay rights, women’s rights).

Elements of Voice

Because audiences experience a communicator’s voice as a whole expression, not a set of parts, a reconsideration of some commonly understood elements of voice may be useful.

• Tone. Tone is the communicator’s attitude toward the subject and audience as expressed in a text. For example, are you trying to convey anger, joy, sarcasm, contempt, anxiety, or respect? To gain control of your tone, read drafts aloud and listen to the attitudes you convey. Is the tone consistent throughout the text? Should it be? Have you struck the tone that you were hoping to strike?
• Style. Style is the distinctive way you express yourself. It can change from day to day but it is always you. The style that you choose for a particular writing assignment will largely depend on your subject, purpose, and audience. Style in writing is affected by such values as the level of formality/informality appropriate to the situation and by the simplicity or complexity of words, sentences, and paragraphs. To gain control of style, learn to analyze the purpose and audience. Decide how you want to present yourself and ensure that it suits the occasion.
• Values. Values include your political, social, religious, and philosophical beliefs. Your background, opinions, and beliefs will be part of everything you write, but you must learn when to express them directly and when not to. For example, including your values would enhance a personal essay or other autobiographical writing, but it might undermine a sense of objectivity in an interpretive or research paper. To gain control of the values in your writing, consider whether the purpose of the assignment calls for implicit or explicit value statements. Examine your drafts for opinion and judgment words that reveal your values and take them out if they are not appropriate.
• Authority. Authority comes from knowledge and is projected through self-confidence. You can exert and project real authority only if you know your material well, whether it’s the facts of your life or carefully researched material. The better you know your subject (and this is often learned through drafting), the more authoritative you will sound. Your audience will hear that authority in your words.

What Is Voice in an Academic Essay?

Many students arrive at college with the notion that they must not use the first-person “I” point of view when writing an academic essay . The personal voice, so goes the reasoning, undermines the student writer’s authority by making the analysis or argument or whatever the student is writing seem too subjective or opinionated to be academic. The student who subscribes to this notion is correct—or possibly incorrect; it depends on how the assignment has been designed. One advantage of not using the first-person “I” is that it challenges the student to present ideas as objective claims, which will amplify the degree to which the claims require support to be convincing. Notice the different effects of these two claims:

I feel that Pablo Picasso’s reputation as a great artist conflicts with what his biographers have to say about his personal relationships, especially with women.  

Pablo Picasso’s reputation as a great artist conflicts with what his biographers have to say about his personal relationships, especially with women.  

      The only measurable difference between the two sentences above is that the first of them is couched in the first-person phrase “I feel.” The two sentences differ more consequentially in terms of effect, however. The writer—and readers—of the second sentence are probably going to sense more strongly the need for support to make the claim convincing. That’s a good thing, for it indicates to the writer the work that needs to be done to make the claim convincing.

      The disadvantage of keeping the first-person “I” voice out of an essay is that it may squelch something unique and authentic about the writer’s voice and vision, turning the essay into something more formal in tone—something more conventionally academic, let’s say. What is more, while denying the first-person “I” a place in an academic essay may heighten awareness of an essay’s argumentative weaknesses, it also participates in a tradition that privileges certain modes of thought and expression. The traditional ways of approaching academic essays, instructors are coming to accept, may be too limiting for today’s students.

      So, is the first-person “I” correct or incorrect? Ask your instructor this question before you begin writing your academic essay . Talk about what you need, in terms of voice, to convey your ideas most effectively.

Quick tip about citing sources in MLA style

What’s a thesis, sample mla essays.

• Student Life
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• Champlain College Online
• About Champlain College
• Centers of Experience
• Media Inquiries
• Contact Champlain
• Maps & Directions
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Why is ‘voice’ important in academic writing?

This is the first of three chapter about Balancing Voices . To complete this reader, read each chapter carefully and then unlock and complete our materials to check your understanding.   

– Introduce the concept of ‘voice’ in academic writing

– Discuss the importance of balancing author voices

– Provide examples of source voice and writer voice in context

Chapter 1: Why is ‘voice’ important in academic writing?

Chapter 2: What are the three different types of ‘voice’?

Chapter 3: How can I effectively balance ‘voice’ in my writing?

Of the many writing skills that exist, students often struggle most with the concept of voice in academic writing – yet creating a balance of voice is perhaps one of the most important aspects of this style. The following three chapters therefore attempt to deal firstly with the concept of voice and why it’s used in academic writing before exploring how to use and identify the three different types of voice. Finally, how to effectively include and balance voice in your own writing is discussed in some detail.

What is ‘voice’?

Although how voice is identified in academic writing varies slightly from institution to institution, the general concept of voice is mostly agreed upon. Put simply, voice when writing academically describes whether the information in a text has been provided by the writer or by another source author, and such voice may be analysed on a clause-by-clause or sentence-by-sentence basis. Writer voice is therefore used to indicate and introduce the opinions and ideas of the writer, while source voice may be used to introduce evidence, concepts or ideas from a published piece of research – otherwise known as a source . The following two example sentences show how both writer voice  ( WV ) and source voice ( SV ) may be used together:

Why is ‘voice’ important?

There are three primary reasons that the distinction between writer voice and source voice should be clearly indicated in a piece of academic writing.

1. Including Sources

Sources that provide support for the writer’s arguments and ideas are a critical aspect of academic writing. By using integral citations , the writer can introduce various sources in their writing in the form of source voice . Such sources may be introduced to define a concept , support an argument , provide explanations and examples, or to provide the direct words of an author through quotations .

2. Writing Convincing Arguments

Source voice is most often used by academics to introduce sources that will make that writer’s research more convincing. Particularly at the undergraduate level, a reader (or marking tutor) will likely care little for the ideas and opinions of an inexperienced and unpublished researcher; instead, by supporting those ideas with appropriate sources, the writer is able to make their arguments more convincing. If a reader sees that the writer’s ideas are supported by external evidence and agreement, then those ideas will be stronger and more difficult to refute.

3. Separating Opinions

The final reason that voice is important is that it helps the writer to separate their opinions from the opinions of other authors. Perhaps the writer wishes to introduce a counter argument in an evaluative essay and intends to show that they don’t necessarily agree with the included source’s research or ideas. To do this, the writer might use clear source voice , indicating that the evidence they’ve provided may or may not be separate from the writer’s own opinion. Consider the following example:

It’s clear from the second sentence in this example that the writer ( WV ) disagrees with Beck’s (2017) argument ( SV ). The use of clear  source voice and  writer voice  has therefore enabled the writer to separate their opinions from the opinions of another author. However, as will be shown in Chapter 2, there are in fact three types of voice that a writer may use to their advantage. Continue reading to find out more about the third and final type: mixed voice .

Downloadables

Once you’ve completed all three chapters about voice , you might also wish to download our beginner, intermediate and advanced worksheets to test your progress or print for your students. These professional PDF worksheets can be easily accessed for only a few Academic Marks .

Our voice   academic reader (including all three chapters about this topic) can be accessed here at the click of a button.

Gain unlimited access to our voice   beginner worksheet, with activities and answer keys designed to check a basic understanding of this reader’s chapters.

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Our voice   advanced worksheet with activities and answer keys has been created to check a sophisticated understanding of this reader’s chapters. 

To save yourself 3 Marks , click on the button below to gain unlimited access to all of our voice   guidance and worksheets. The All-in-1 Pack includes every chapter on this topic, as well as our beginner, intermediate and advanced worksheets in one handy PDF.

Click on the button below to gain unlimited access to our voice  teacher’s PowerPoint, which should include everything you’d need to successfully introduce this topic.

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How to Describe Voices in Writing: A Concise Guide for Writers

By: Author Paul Jenkins

Posted on September 9, 2023

Categories Writing , Creative Writing

Describing voices in writing is an essential skill for bringing characters to life and creating a vivid reading experience. To capture the essence of a voice, writers must pay close attention to elements like tone, pitch, rate, and the emotional state of the character.

Understanding these aspects helps differentiate various voices, making the narrative more engaging and immersive for the reader.

The role of tone in voice description is important, as it conveys the character’s attitude and emotions. This could range from a gentle, soothing tone to a harsh, critical one. An accurate portrayal of pitch and rate enables readers to imagine the voice’s depth, speed, and power.

Moreover, incorporating adjectives and verbs to describe voices can add nuance and depth to the character’s manner of speaking.

Key Takeaways

• Describing voices in writing requires attention to elements like tone, pitch, and rate
• Tone conveys attitude and emotion, while pitch and rate determine depth and speed
• Using adjectives, verbs, and other descriptions adds nuance to the character’s voice

Defining Voice in Writing

When you’re describing voices in writing, it’s essential to understand what “voice” means within a literary context. Voice refers to the unique combination of tone, word choice, point of view, syntax, punctuation, and rhythm that characterizes the way a sentence or paragraph is written.

A strong voice can make all the difference in engaging your readers and conveying emotions effectively.

As an aspiring writer, your objective is to create a compelling voice that captures your readers’ attention and keeps them invested in your story. As you develop your voice, consider working towards establishing an authoritative, neutral, or a mix of both tones in your writing.

Authoritative voice is powerful and confident. It holds the readers’ attention and convinces them of the validity and truth in your words.

Utilizing an authoritative voice in your writing can lend credibility to your work and make your message more persuasive. You can achieve this by employing strong, active verbs, providing evidence to back your assertions, and expressing your ideas concisely.

Neutral voice represents a balanced and unbiased perspective. When you use a neutral voice, you aim to present information without allowing your opinions or emotions to color the narrative.

This can be particularly useful when you’re writing informative or educational content, as it allows the reader to absorb information objectively. To develop a neutral voice, choose words and phrases that are impartial, avoid biased language, and present multiple perspectives when discussing contentious issues.

Remember, regardless of the voice and tone you choose, clarity should always be the primary goal in your writing. To achieve this, focus on concise language, proper grammar, and sentence structure.

Experiment with different voices and tones to find the perfect blend for your unique writing style, and you’ll be well on your way to capturing your readers with compelling and engaging narratives.

The Role of Tone in Voice Description

When you’re describing a voice in writing, it’s crucial to understand the role tone plays. Tone is the overall quality of the sound and can greatly influence the way a reader perceives both a character’s speech and the story’s mood.

Let’s explore some ways to effectively communicate tone in your descriptions through various aspects such as modulation, loudness, and softness.

Tone of voice, as opposed to the content of the words spoken, can convey emotions and attitudes. Considering the tone when describing a voice helps provide depth to your characters and scenes.

Here are some types of tone you may want to consider:

• Modulated : A modulated voice has variation in pitch and volume, creating a more natural and engaging sound. You can use this term to describe a character who is expressive and lively in their speech.
• Soft : A soft voice is usually gentle, low in volume, and soothing. It can make a character seem calm, shy, or even mysterious in some cases.
• Loud : A loud voice is one with high volume and often comes across as powerful or assertive. This type of voice can be useful for characters who want to make their presence known or establish authority.
• Quiet : A quiet voice is one that’s barely audible, which could imply several things about a character, such as insecurity, caution, or a secretive nature.

It’s essential to use descriptive terms that capture the specific tone of voice you want for each character or narration. Moreover, it can be helpful to explore relevant adjectives and descriptive phrases that further emphasize the tone of a character’s voice.

Be mindful of how the tone contributes to the overall atmosphere and attitude of your story. A well-described voice will make your characters feel more authentic and engaging, allowing readers to connect with them at a deeper level.

So, always pay close attention to the tone of voice in your writing, and ensure you use clear, confident language to effectively communicate the emotion, intention, and personality behind each voice.

Understanding Pitch and Rate

When describing voices in writing, two key aspects to consider are pitch and rate. Focusing on these elements can help you create more distinct and believable characters in your story.

Pitch refers to how high or low a voice sounds. It can range from high-pitched, like a child or a soprano singer, to deep and low, such as a baritone, or even the base voices of older characters. Consider the following examples:

• Her voice was high-pitched and bubbly, making everyone around her smile.
• His baritone voice resonated through the room, drawing everyone’s attention.

Rate is the speed at which someone speaks. Some characters may speak slowly, giving the impression of careful thought or a calm demeanor. Others might speak quickly, projecting energy or nervousness. Here are a couple of examples:

• She spoke slowly, weighing each word carefully before delivering them.
• He rattled off the list of instructions at a rapid pace, leaving everyone scrambling to keep up.

To describe your characters’ voices effectively, try experimenting with different combinations of pitch and rate. For instance, a character with a high-pitched voice who speaks quickly might give readers the impression that they are excited or enthusiastic, whereas a low-pitched voice speaking at a slower pace might convey authority and confidence.

As you practice describing pitch and rate, remember to stay confident, knowledgeable, and neutral in your writing. Pay close attention to the examples provided and apply these concepts to your own characters. This will help you create a clear and engaging reading experience for your audience.

Characters and Their Voices

When crafting your story, it’s important to give each character a distinct voice. A unique and well-described voice can enhance the reader’s experience and provide valuable insight into a character’s personality. Here’s how to develop different voices for your characters.

First, consider the adjectives that best describe a character’s voice. Some common examples include penetrating, gravelly, mellifluous, and passionate. Penetrating voices are strong and clear, often capturing the listener’s attention.

Gravelly voices are rough and textured, suggestive of age or experience. Mellifluous voices are smooth and pleasing to the ear, while passionate voices convey strong emotions. Choose the adjectives that suit your characters and use them in the dialogue or narration to create a vivid picture of their voices.

Next, think about the mannerisms and style of speech your characters use. Do they speak quickly with excitement, or are they slow and thoughtful? Are they prone to interrupting others or do they patiently wait their turn to speak? These details can further define a character’s voice and give each one a unique flavor.

When writing dialogue, consider using dialects or accents to differentiate your characters. Differentiating characters by their spoken language can not only provide depth to the story, but also allow the reader to easily identify them.

Be cautious, however, in using dialects or accents heavily, as it may become difficult for your readers to follow the dialogue. You may also use punctuation and formatting, like italics or bold text, to emphasize certain words or convey emotions in their speech.

Finally, remember that consistency is key. Once you’ve established a voice for a character, maintain it throughout your story. This will help your readers form a stronger connection to the character and distinguish them from others in your writing.

In summary, creating distinct characters’ voices involves selecting appropriate adjectives, considering speech mannerisms, using dialects or accents, and maintaining consistency. By following these guidelines, you can confidently develop unique and interesting voices for the characters in your story.

Adjectives for Voice Descriptions

When describing voices in writing, adjectives play a crucial role in conveying the nuances and qualities of a character’s voice. By using a variety of adjectives, you can create a more vivid and engaging reading experience. Here are several examples to help you describe various voice types effectively:

• Rotund : A rotund voice is rich, full, and resonant. It might remind you of a booming bass or a large, round object vibrating with sound. If a character has a rotund voice, you can easily imagine it filling a room.
• Crisp : This adjective describes a voice that is clear, concise, and well-articulated. A crisp voice might come across as precise and even authoritative, thanks to its sharp enunciation and distinct pronunciation.
• Adenoidal : An adenoidal voice sounds nasal, as if someone is speaking with their nose blocked or congested. This type of voice can be used to give a character a distinct or quirky sound, making them more memorable.
• Shrill voice : A shrill voice is high-pitched and piercing, often associated with discomfort or distress. When describing a character with a shrill voice, you convey an intense, sometimes unnerving, emotional state.
• Husky voice : A husky voice is low, rough, and slightly raspy. It can suggest a character who is attractive, mysterious, or sensual. Alternatively, a husky voice could indicate a character who is tired, sick, or has been shouting.
• Soft : Describing a voice as soft implies that it is gentle, quiet, and soothing. A character with a soft voice might be shy, caring, or empathetic. A soft voice can also be associated with secrecy or whispered conversations.
• Deep : A deep voice is characterized by its low pitch and resonance. It might evoke sentiments of strength, authority, or power. Alternatively, a deep voice can suggest a calm and collected demeanor.

By utilizing these adjectives and others, you can paint a vivid picture of your characters’ voices and add depth to your writing. Choose the right descriptors to match the emotional state, personality, or appearance of your characters, and your readers will be more immersed in your story.

Describing Voice Intensity

When you describe a voice’s intensity in writing, you can use various adjectives to convey the strength, loudness, or calmness of a character’s voice. Voice intensity plays an important role in creating a vivid image in your reader’s mind, helping them understand the character’s emotions and personality.

You can start by considering intense voices, which may be powerful and passionate. An intense voice often signifies that a character is emotional, engaged, or determined. You can use phrases such as “his voice boomed with intensity” or “her voice carried a passionate intensity” to bring the character to life in your writing.

On the other hand, strong voices are those that grab the reader’s attention with their robust and commanding nature. To describe a strong voice, you might say “his deep voice resonated with strength” or “her powerful voice demanded their attention.” This type of voice often indicates a confident and assertive character.

For characters who possess a soothing, gentle presence, use adjectives like calm and soft to describe their voices. A calm voice might make readers feel at ease, while a soft voice could be delicate, warm, or comforting.

Phrases to describe a calm voice could include “his voice had a peaceful calmness,” and for a soft voice, you can use descriptions like “her voice was a tender whisper.”

Lastly, consider the volume of the voice when describing intensity. Loud voices are attention-grabbing, piercing through the ambient noise, while quiet voices are more subtle and less noticeable. You might say, “his voice was so loud it thundered through the room,” or “her quiet voice was barely audible over the hum of the crowd.”

By using these various adjectives and phrases to describe voice intensity, you can effectively create engaging characters, convey emotions, and immerse readers in your story.

Using Actions and Verbs to Describe Voices

As a writer, describing the voices of your characters brings depth and an added layer of realism to your narrative. One effective way to achieve this is by using actions and verbs. Here are some tips for incorporating these elements into your writing.

Start by selecting appropriate verbs that depict the emotional state or tone of the character’s voice. For instance, a caring voice might “soothe” or “console,” while a serious voice “asserts” or “emphasizes.” On the other hand, an animated character might “burst out” or “chatter with enthusiasm.” Be creative and choose words that will capture your reader’s imagination.

To enhance the impact of the verbs you use, consider incorporating actions that support the character’s vocal delivery. In a caring scenario, you could describe how the character gently touches the listener’s shoulder while soothing them. A serious character might lean in closer to their conversation partner, making direct eye contact as they emphasize a point.

Using actions and verbs in your writing can help convey the pace of a character’s voice as well. A slow and deliberate manner of speaking can be described with verbs like “drawl” or “murmur,” while a quicker pace can be associated with words like “jabber” or “prattle.” Pair these verbs with relevant actions, such as a character nervously tapping their foot while speaking quickly or leaning back in their chair when they are speaking more slowly.

Remember to maintain a clear and neutral tone throughout your writing, ensuring you provide enough details for your readers to understand the nuances of each character’s voice. As you continue to hone your skills, you’ll become more confident in your ability to capture the essence of different voices through the strategic use of actions and verbs. So go ahead, give your characters the powerful voices they deserve.

Voice Descriptions for Different Moods

When describing voices in your writing, considering the mood helps create a clear and powerful image in your reader’s mind. Let’s explore voice descriptions for various moods, such as sad, enthusiastic, confident, clear, hesitant, animated, and cold.

Sad: When a character speaks with a sad tone, their voice might come across as soft, barely audible, or choked with emotion. They may have a tremble to their voice, as if they’re struggling to hold back tears. Example: “Her voice cracked when she said the words, her tone teetering on the edge of despair.”

Enthusiastic: People who speak with enthusiasm often have a lively, energetic quality in their voice. They tend to speak louder and faster, with a sense of excitement that makes the listener feel more engaged. Example: “His voice bubbled with enthusiasm, like a firework about to explode.”

Confident: A confident voice comes across as strong, steady, and self-assured. Confidence may be accompanied by a clear enunciation of words and a dominant tone. Example: “She spoke in a commanding voice, her words delivered with unwavering certainty.”

Clear: When a voice is clear, it is projected well and easily understood by others. Clear voices have precise enunciation, neutral or natural tone, and a sense of purpose. Example: “Her voice was crystal clear, each word enunciated with purpose and poise.”

Hesitant: Hesitant voices convey uncertainty or doubt. In these situations, your characters might speak softer, with pauses and stutters. Their words may come out unevenly or with less confidence. Example: “Timidly, he spoke, his voice barely more than a whisper and punctuated with long silences.”

Animated: An animated voice projects lively and expressive emotions. Characters with animated voices often have a natural storytelling ability, using different pitches, volumes, and tempos for emphasis and effect. Example: “She regaled them with her tale, her voice leaping, skipping and plunging through the narrative like a series of rapids in a river.”

Cold: Cold voices come across as detached, unemotional, and distant. Characters speaking in a cold voice might have a flat, monotone quality, or a controlled, purposeful tone that conveys disinterest or disdain. Example: “His voice was as frosty as the winter air, each syllable falling like a razor-edged snowflake.”

Using these descriptions, you can easily convey different moods in your character’s voices to help bring your story to life and create an immersive experience for your readers.

Personality Projection through Voice Descriptions

When describing voices in your writing, it’s important to consider how you convey a character’s personality traits effectively through their speech. Doing so can add depth and authenticity to your story, making it easier for readers to connect with the characters.

To project a sincere personality, focus on using words that illustrate a warm and open tone of voice. For instance, you could describe a character’s voice as soothing, gentle, or genuine in order to convey sincerity. This allows your readers to understand the genuine emotions and intentions the character is expressing.

For a firm personality, use terms that describe a strong and assertive voice. This could include authoritative, commanding, or unwavering terms. When readers encounter this type of voice description, they will likely associate the character with someone who is confident and decisive.

A sarcastic character’s voice might be described as dry, biting, or sardonic. These descriptions help portray the character’s tendency to use humor or irony to make a point, suggesting a more cynical or mocking attitude.

When aiming for a matter-of-fact tone, choose words that evoke a straightforward and impartial voice, such as precise, objective, or unemotional. This not only helps readers understand the character’s tendency to be down-to-earth but also emphasizes their reliance on logic and facts.

To create a sense of monotony , describe the character’s voice using terms like dull, flat, or lifeless. This can suggest a lack of enthusiasm or emotion in the character’s speech, potentially implying boredom, detachment, or even apathy.

Finally, a trembling voice might portray a character as vulnerable, nervous, or frightened. By using words like quavering, shaky, or unsteady, you can convey the sense of a character struggling to maintain composure or expressing deep emotion.

By incorporating these voice descriptions and associated personality traits into your writing, you can create compelling, multidimensional characters. This will not only engage your readers but also enhance the overall narrative.

As a writer, it is essential to master the art of describing voices in your narrative to create an immersive and engaging experience for your readers. By understanding the various elements that contribute to a voice, such as tone, pace, timbre, volume, and accent, you can craft vivid and clear descriptions that bring your characters to life.

Being knowledgeable about adjectives and phrases specifically suited for describing voices can strengthen your writing and prevent redundancies. Explore various sources and resources to expand your vocabulary and incorporate it effectively in your narrative.

In your writing journey, strive to develop a confident and neutral voice that is clear and informative. This approach will help your readers easily understand and connect with the characters, making your stories even more enjoyable to read.

Remember to stay consistent with the point of view you choose and maintain the English language throughout your work. Overall, keep practicing and experimenting with different techniques to find your unique voice as a writer. As you continue to grow in both skill and experience, your ability to describe voices in writing will only improve, ultimately enhancing the experience for your readers.

Frequently Asked Questions

How can i depict a child’s voice in a story.

To depict a child’s voice in a story, you can focus on the following features: use simple words and sentence structures, convey innocence or curiosity, and consider incorporating mispronunciations or childlike expressions. You can also mention the pitch and volume of the child’s voice, such as high-pitched or soft-spoken, to emphasize their youth.

What are effective words for describing an attractive voice?

Effective words for describing an attractive voice include melodious, soothing, sultry, mesmerizing, dulcet, velvety, honeyed, and alluring. Use these adjectives in conjunction with other descriptive words to convey the specific traits and emotions you want your readers to associate with the voice.

What are some character voice examples in literature?

In literature, character voices often help differentiate characters and give them unique personalities. Some examples include:

• Holden Caulfield from The Catcher in the Rye by J.D. Salinger, who speaks with a casual, sarcastic, and introspective tone.
• Sherlock Holmes, as portrayed by Arthur Conan Doyle, who has a precise, analytical, and confident voice.
• Tom Sawyer from Mark Twain’s novels, who has a mischievous, adventurous, and youthful voice.

How can I describe various singing voices?

When describing singing voices, use adjectives to convey the vocal range, tone, timbre, and emotional impact of the music. Words such as powerful, delicate, tender, expressive, vibrant, sonorous, and ethereal can help convey this information. You might also mention the style of singing, like operatic, soulful, or folksy, to give readers a clearer sense of the singer’s voice.

What words can capture a creepy or eerie voice?

To capture a creepy or eerie voice, consider using words like spine-chilling, unsettling, haunting, whispery, sinister, or otherworldly. These adjectives can evoke a sense of discomfort, fear, or suspense, which may enhance the atmosphere you’re trying to create in your story.

What adjectives are suitable for describing a female singer’s voice?

Adjectives suitable for describing a female singer’s voice may include angelic, powerful, sultry, heartfelt, melodic, soulful, resonant, and breathy. Choose words that convey the unique qualities and characteristics of the singer’s voice you wish to emphasize, and consider using terms that reference specific emotional responses or style elements.

The Power of Words: On “Classics” and “Canon”

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The first step is admitting that your ideas need to change.

I’ve been in a yearlong conversation with myself about “ the canon .” I am, this year, teaching what I feel is a full-canon list ( To Kill a Mockingbird, Lord of the Flies, Romeo and Juliet ), as I’ve done in the past. I have always had my argument for it , that I could teach these books in ways that were powerful for my students as we discussed race, gender, class, and social justice. Atticus Finch was no simplified hero in my class. We discussed the white savior trope and his role in it. I did this in hopes I could still expose my students to works that they might need to know as they move through Western, American culture.

I hope I was able to do that. And it’s not like we didn’t read other things—I try to incorporate poetry, short stories, nonfiction texts, and more to read alongside these “classic” literary pieces, in hopes that I was providing more windows and mirrors for my students.

In the past few years, though, I’ve really sat with this question: How much am I actually dismantling systemic oppression in my work if I’m still teaching within the confines of its language?

Then, I was introduced to #DisruptTexts, an amazing group of educators working to “challenge the traditional canon in order to create a more inclusive, representative, and equitable language arts curriculum that our students deserve.” When another teacher at the National Council of Teachers of English conference expressed a concern about straying from the canon, Tricia Ebarvia -- an amazing teacher and scholar-- asked, simply, “Why?” It made me question myself, too: What exactly am I scared of kids losing if I stray from the canon? Was my fear rooted in an actual fear of missing something with my students, or my own personal fear of the discomfort and unknown?

Tricia expertly talks through some of those issues more here , calling out not only why it’s hard (and it is!) but also why it is truly necessary.

Ultimately, the language we use and time we devote to certain kinds of writing and authors color the perception and beliefs about power students have about the world. Words have power. There is power in how we name things, and we must be thoughtful about what we name as “classic,” “canon,” or “great” when we teach kids.

When we spend the majority of our time and care dissecting the language and stories of primarily Western, white, and male authors, it sends a message about whose voices are worth that time and study.

When the books we name as “the classics” or “the greats” are primarily telling white, Western, and male-driven stories, the message is that voices from other kinds of communities are not also “classic,” “great,” or worthy of that same study or praise.

Our students deserve to know that their voices and powerful voices from the communities they come from are as brilliant and worthy as those we have been pushed to read for generations before.

This is important work not ONLY in communities of color—where students need their identities validated and uplifted in a world that continually tries to oppress and other them—but in majority-white classrooms as well. ALL students must learn that the single story society has given us about black, Latino, AAPI, indigenous, LGBTQIA+, and other historically silenced communities is untrue, and they should learn about those communities and perspectives from people actually in them, not someone else writing about them.

As librarian and scholar Jillian Heise notes, research shows that the books and representation we show to students 100 percent matters as they better come to understand themselves and their worth:

This one struck me: “Representation in literature is never a purely literary issue, for literary works are both aesthetic and social constructs. Such representation reflects the values, beliefs, and attitudes of those who produce the literature” (Cai, 2002, p. 69). -- Jillian Heise (@heisereads) April 11, 2019

More here .

There are a number of arguments about teaching the canon. I list some common ones with responses below. You can also find these in chart form , as well as this infograph.

As I move into my future as an educator, I’m taking these ideas into consideration and planning to make some changes in my classroom. There are still plenty of books considered “canon” that I love, and that I think are perfectly OK to include as part of a curriculum in a classroom.

Still, I know that if I want to really create social change for my students, that means modeling it in my classroom and pushing us to move away from what the system has given us for generations and toward the voices of justice and equity. As Freire also notes, this work must be led by those who have been historically oppressed, and if I want to support them, that means I must work to explore their writing and show my students just how powerful those voices are.

“I loved reading ______ and learned a lot of life lessons from it.”

Great! Just because a book is “in the canon” doesn’t mean that the book is necessarily bad or wasn’t powerful. We’re questioning why a list of books that are primarily written from the white, Western, male perspective are ones that we continually pull from, without perhaps asking if we could diversify or stray from that list. There’s a lot of other perspectives out there to love that we’re not exposing our students to in part because we weren’t exposed to it.

We’re exposed to valuable messages from white men in nearly every other medium. We can find valuable messages from other communities, too, particularly to give to the next generation in a school setting.

What does it mean when there are only one or two texts from other perspectives in the TONS of reading we did in K-12? What message does that send about what kinds of people are likely to have valuable messages to pass along?

How Representation Affects Students

Why Diverse Books Matter

“We can teach the canon and have more contemporary/'diverse’ texts offered as recommended or optional reading.”

If the canon is historically white, male, and Western, what does it teach students about whose work deserves to be studied and valued by their teachers, and whose work is just “optional”? Relegating other perspectives to outside reading instead of taking the time in the classroom to dissect them with the same level of rigor and care as you would a text from the canon can send some problematic ideas regarding voice and value to students.

“It’s a classic! I read it when I was their age!”

What exactly is this text bringing to our students? Is there another text from a different or previously unheard perspective that could also give that to our students? Should we really be reading the same text we’ve been teaching for ### years?

In addition, it would be good for ALL students to read about other perspectives and have them seen as equally “classic” or “canonical” as the white authors they’re reading. What message does it send to students when they don’t see many/any authors from a similar background referred to as “classic” or “one of the greats”? And what ideas does that reinforce to white students about whose voices matter and deserve study and understanding?

Why is it that traditional concepts of “good writing” (by white people) asks POC/nondominant groups to try and connect to their experience, but we can’t ask the same of the hegemony? There’s plenty of “good writing” by noncanonical authors that helps folks understand perspectives NOT widely seen.

“Young adult or contemporary literature isn’t as good. The classics are classics because they’re good.”

It’s important to acknowledge that who gets published, promoted, and taught has been highly influenced by who was and is in power. People in power often decide who is allowed to be published and taught, either by outright not publishing certain works (e.g., women have to write under male psedonyms) or making it hard to get access to those books when they were published (e.g., banning certain books from schools).

The concept of “classics” is a societal construct built on people in power deciding that it was worth study and doesn’t discount the fact that there were possibly other great books overlooked for other reasons. Why are we willing to accept authors like Hemingway or Cummings when they experimented with language, but assume that contemporary or young adult authors are not equally as brilliant when they do the same? And what does that teach students about what *they* are capable of in the future when they want to share their own voices

Also, young adult and contemporary literature is like ALL literature: Some of it is really great and some of it is not so great. Simply because there are a few examples of more lackluster young adult or contemporary literature doesn’t mean that no good literature in those genres exists.

“The goal of a literature course should be to teach literary analysis and critical-reasoning skills. That means we need to choose texts that have the ideas and language for students to study.”

There are really great pieces of literature from nonwhite/ noncanon/historically undervalued perspectives that are not only fantastic reads but strong pieces of literature that can be used to teach those skills.

The assumption in this argument is that you can’t use representative and diverse texts to teach literary analysis or skills, which appears to discount their merit simply because they’re not “in the canon.”

“Literature courses need to prep students for cultural conversations around shared knowledge around ‘the canon’ texts that we all should know.”

This argument ignores the fact that, as educator Julia Torres , notes, "... it centers only SOME traditions and SOME shared knowledge. ... So, we need to all circle around whiteness and protect it by making sure kids learn MOSTLY about it for the sake of tradition?” This hardly seems fair, and it’s important to question why we don’t place equal weight on the shared culture and knowledge of those outside of what is seen as “dominant culture.”

In addition, there are ways you can introduce “foundational ideas” (which, again, hopefully questioning “whose foundation?”) while pairing it with texts that may resonate more or provide a more enriched perspective to students. What if students read excerpts from To Kill a Mockingbird and compared them to their reading of The Girl Who Fell From the Sky or Just Mercy: A True Story of the Fight for Justice , or read any number of fabulous texts from an author who was actually African (Achebe’s Things Fall Apart is, of course, beloved, and I just read Unbowed by Wangari Maathai and loved it) and compared it with excerpts from Conrad’s Heart of Darkness (hopefully Achebe’s response , too).

If we’re willing to read these canonical texts and provide excerpts from “diverse perspectives,” why can’t we flip the script the other way?

“Students should read texts and perspectives they may not choose on their own.”

There are other really powerful pieces of literature from nonwhite/ noncanon/historically undervalued perspectives that open up students to different styles of writing, historical periods, uses of language, or cultures they may not experience.

It’s also beneficial to expose students not just to styles of writing or historical time periods they may not choose but also cultural perspectives they may not have encountered to better build empathy and open them up to understanding about people outside their own communities.

“Students need a historical understanding of literature.” or “Students need to engage with texts from the past to understand contemporary texts.”

Black, Latino, Asian, LGBTQ+, non-Western literature didn’t JUST start existing. We, as a society, have had a lack of exposure and access to it. There are plenty of historical texts from other perspectives outside the canon that have historical and literary merit. Also, while there were white and/or male writers who may have written well about the experience of others (e.g., To Kill a Mockingbird ), it’s still a white or male perspective on other people’s experience. That’s problematic.

There are powerful books/writings from that time that are NOT in the canon that might prove even more valuable because they teach students using an actual primary source from that culture instead of that culture filtered through the white gaze.

“‘Open the doors and let these books in’ - what would a truly diverse reading list look like?” - The Guardian

“The Literary Canon Is Mostly White. Here’s an Alternative Latin American Reading List” - Remezcla

“Texts from the canon deal with contemporary issues, and students should interact with them to understand that.”

Yes, canonical texts deal with issues, and yes, a good teacher can teach through a variety of texts, but it’s hard to ignore the fact that some of those texts handle those issues in problematic ways. Showing those students only problematic or outdated views of very real issues regarding race, sexuality, mental health, class, gender, etc., perpetuates the “single story” (as Chimamanda Adichie discusses in her TED Talk “ The Danger of a Single Story ”) that exists about those issues.

“We read from the canon because these are books or types of texts students will experience on high-stakes testing.”

“We can use other texts to teach powerful literacy skills that students can apply to any text. We can also expose students to canon texts without them being their primary mode of learning. By having more diverse options, students can choose which will increase engagement and in turn will make it easier to teach them those important literacy skills. It will also make them more motivated to engage in all texts because they have concrete skills they can use.” - Chiara Colicino

“English class/School isn’t supposed to be political.”

“Teaching is a political act,” as Paolo Freire notes in his seminal text, “Pedagogy of the Oppressed.” James Baldwin also talks about this brilliantly in his speech “A Talk to Teachers.” Helping students access critical thinking and sharing knowledge and ideas with them is inherently both political, as our work asks us to let students question the system and world that they live in. As NCTE’s Standing Committee Against Racism and Bias in the Teaching of English notes in their piece, “ There Is No Apolitical Classroom: Resources for Teaching in These Times ”, “English/language arts teachers must examine the ways that racism has personally shaped their beliefs and must examine existing biases that feed systems of oppression.”

This also includes math, as Rochelle Gutierrez notes in her piece, “ Why (Urban) Mathematics Teachers Need Political Knowledge .” Even trying to be “apolitical” is a political choice. Thus, we can choose texts that actively engage our students while uplifting, validating, and exposing them to identities, ideas, and perspectives previously unheard.

“This is what we’ve always taught, and these are the resources I have access to.” or “I want to move away from the canon, but my school/administration/community won’t allow me to.”

These are understandable arguments that many teachers can empathize with. First, we can acknowledge that the system does not adequately compensate or provide teachers (particularly public school teachers) with the resources, finanical compensation, or time needed in order to properly plan innovative or socially conscious curriculum. This is wrong and something we should also work to change.

In addition to that, though, is the privilege and responsibility we have to our students to give them a just and socially powerful education in not just content areas but as they grow to be justice-oriented and responsibile citizens as well. While it is hard, we must also acknowledge how important the role we play is and seek to do that work for ourselves and support each other to create and share curriculum for teachers (particularly new teachers) to better provide for their students.

There are great organizations and folks online, such as EduColor , #DisruptTexts , and We Need Diverse Books , providing resources for teachers. I hope this helps. Ultimately, the fact that there are a dearth of resources for white and/or male-authored texts and not for others is another example of how power and inequity perpetuate the ideals of the hegemony generation after generation.

Also, it is an unfortunate truth that sometimes administration or communities are not supportive. We encourage teachers to reach out online and in their PLCs about how to have these tough conversations to engage community stakeholders to provide updated curriculum designed to do what’s best for students.

Much thanks and appreciation to the following folks for their help on this piece and with the chart, arguments, and responses:

• #DisruptTexts
• Tricia Ebarvia
• Lorena Germán
• Dr. Kim Parker
• Julia Torres
• Marybeth Baldwin
• Jillian Heise
• Chiara Colicino
• Angelina Murphy

The opinions expressed in The Intersection: Culture and Race in Schools are strictly those of the author(s) and do not reflect the opinions or endorsement of Editorial Projects in Education, or any of its publications.

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The Power of the Human Voice

Posted on August 8, 2014 by the Editor

It takes the human voice to infuse words with shades of deeper meaning. The role of the human voice in giving deeper meaning to words is crucial when one looks at the significance of denotative and connotative meanings of expressions. For example, one person can utter the following words: l am thirsty . The surface or general meaning is that the person needs some water. However, depending on the context of the utterance, in terms of the reason for such expression, the role and position of the speaker-on a deeper or connotative basis the same words could mean: Give me some water now! In which case: I am thirsty would galvanise the person receiving the order to fetch water as quickly as humanly possible.

The human voice is able to infuse words with shades of deeper meaning because that power of speech can unearth the real intentions, mood, character, identity and culture of the speaker in question. It is easy for a person to write down something and mislead his or her audience or the entire world. However, once one has an opportunity to physically interact with and listen to the person`s voice- the real emotional, physical and cultural elements of the speaker can be easily picked up and placed in their right perspective. By the same token, actors, educators, editors, politicians, religious leaders, advertisers, insurance agents, singers, writers, inspirational speakers suffuse their voices with certain words to successfully appeal to their audiences.

Verbal communication is unique to humans. Human beings are emotional creatures. The human voice is thought to convey emotional valence, arousal and intensity. Music is a powerful medium capable of eliciting a broad range of emotions. The ability to detect emotion in speech and music is an important task in our daily lives. Studies have been conducted to determine why and how music is able to influence its listeners’ moods and emotions. Results showed that melodies with the voice were better recognised than all other instrumental melodies. The authors suggest that the biological significance of the human voice provides a greater depth of processing and enhanced memory.

Think about a normal day in one’s life. How many words does a person speak? How many words do you hear? According to Caleb Lott in the article titled: The Power of the Human Voice , while there are several different numbers floating around, an average human speaks a minimum of 7000 words every day. The same writer goes on to say that the human voice is a tremendous asset which can be used to make the ordinary extraordinary. For example, the games Thomas Was Alone and Bastion use the human voice in a unique way that dynamically affects the players’ experiences of the games. This is so because a narrative-focused game is not only a powerful and amazing way to tell the story but also does so in a way that the visuals cannot convey. The writing is amazing, but without the awe-inspiring narration, the impact of the writing would be lessened.

The human voice is an amazing tool that can have a profound effect on video games. Using a narrator affects the gameplay and the experience the player remembers after walking away from the game. Think of being held in awe, listening to the radio where the mellifluous voices of one`s favourite program’s hosts awaken, mesmerise, excite or sooth one. This boils down to the fact that our visceral reactions to the ways people play form an integral part of our interactions and communication. Annie Tucker Morgan in Talk to Me: The Powerful Effects of the Human Voice says there is a reason why many people’s first instinct when they are upset is to call their mother. Mother’s love is not only enduring but it is something strong that a person finds echoing instinctively and emotionally. She goes on to explain how a University of Wisconsin -Madison study has identified a concrete link between the sound of Mom’s voice and the soothing of jangled nerves through the release of stress-relieving oxytocin -also known as the “love hormone” in the brain. Researchers say that women prefer deep male voices on the condition that those voices are saying complementary things, but also that a woman’s particular preference for the pitch of a male voice depends on the pitch of her own. Jeffrey Jacob, founder and president of Persuasive Speaking highlighted the correlation between people’s voices and their professional and personal successes. A study conducted showed that if the other person does not like the sound of one’s voice, one might have a hard time securing his or her approval.

If we do not verbalise we write down things. Is writing not something of great magnificence? If so, why can we not make a difference?

The world has never been static, so has writing. It is dynamic. It makes the world revel and reveal itself. Out went the traditional writing feather or pen, and in surged the typewriter, then the “wise” computer. Kudos, the world crooned in celebration of probably one of civilization’s amazing conquest and result.

However, this does not mean that the pen is down and out. Not at all. Neither does it mean that the pen has ceased to be mightier than the sword. Writing is writing whether by virtue of the might of the pen or the wizardry of the computer. In verbal communication one can detect the power of the human voice and the mood of the speaker through such elements of speech as intonation, speed, pause, pitch and emphasis. In the written text, register and paragraphing (for example through the use exclamations) can help detect the speaker’s intentions and emotions.

Different words mean different things to different people. How do writers hold the attention of readers? Through the beauty of words, story-telling helps us derive entertainment from reading, escape from an onerous or anxious life, and of course, understand more about of the world. Through words writers create plots that are not devoid of suspense and mystery. Watts in Writing A Novel says, “A plot is like a knitted sweater-only as good as the stitches. Without the links we have a tangle of wool, chaotic and uninteresting. We get immersed in reading because of the power of causality, the power of words. Words play a crucial role in creating a work of art like a novel. Watts in Writing A Novel says a good answer to a narrative question is as satisfying as scratching an itch.

Through writing we find courage, ammunition and inspiration to go on, in spite of all the odds, we find vision to define and refine our identities and destinies. Yes, through writing we find ourselves, our voice and verve.

J.D. Salinger came up with an interesting observation. He said “What really knocks me out is a book that, when you’re all done reading it, you wish the author that wrote it was a terrific friend of yours and you could call him up on the phone whenever you felt like it. That doesn’t happen much, though.” Are you not ready to knock many a reader out? Are you not ready to unleash your greatness? How many writers are sitting on their works of art?

Writers and words are good bedfellows. Pass that word. Maya Angelou, the famous author of I Know Why the Caged Bird Sings says “Words mean more than what is set down on paper. It takes the human voice to infuse them with shades of deeper meaning.” A word is a unit of expression which is intertwined with sight, sound, smell, touch, and body movement. I think it is memorable (and obviously powerful) because it appeals to our physical, emotional and intellectual processes. As language practitioners, this knowledge (of the mental schema) is crucial.

What is in a word? For me, words illuminate, revel and reveal the world. Literature is literature because of words that constitute it. Patrick Rothfuss says, “Words are pale shadows of forgotten names. As names have power, words have power. Words can light fires in the minds of men. Words can wring tears from the hardest hearts.” Yet, Rudyard Kipling claims, “Words are, of course, the most powerful drug used by mankind” I think this is a very interesting observation.

Patrick Rothfuss illustrates this by declaring, “Words are pale shadows of forgotten names. As names have power, words have power. Words can light fires in the minds of men. Words can wring tears from the hardest hearts.”

The beauty of literature is in seeking and gaining an insight into the complexity and diversity of life through the analysis of how the human voice infuses words with shades of deeper meaning. For indeed the dynamic human voice can roar, soar and breathe life into different pregnant clouds of words and meanings.

14 comments on “ The Power of the Human Voice ”

Powerful essay, indeed the human voice has power to articulate emotions, ideas, perception, convictions and so much more and by so doing, breathing life into words.

Henry, thank you for your great words of encouragement.

Wonderful! Spoken words externalise how the speaker perceive the world, how the speaker feels inside…..

Francisco, thank you for stopping by!

Indeed what a wonderful piece of literature,It reminds me of my secondary education days back in the early 1980s when I did “ANIMAL FARM ” by Charles Dickens.

Mr. Mlotshwa, thank you for stopping by. Much appreciated.

Speechless! the language in this piece is just amazing.Well done Mr Ndaba

Khalaz, thank you!

this is a very nice and awesome essay. Great job! 😀

Musa, many thanks!

Ndaba is a compelling writer. An informative piec

Claire, thank you. Humbled.

Wow. This is very excellent, well-written,powerful and informative. You are a great writer. Keep writing.

Tshego, thank you for your kind words!

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Varying Tone and Style Mastery

Imagine this: a groundbreaking study by esteemed linguist Deborah Tannen found that the way we express ourselves in writing can drastically alter the reception of our ideas. In her research, Tannen uncovered that individuals who skillfully varied their essay tone and style were not only more engaging but also more persuasive. This revelation underscores a profound truth about communication—how we present our thoughts matters just as much as the thoughts themselves. In the realm of essay writing, this insight transforms into a potent tool. It empowers you to adapt your voice, making it a perfect match for different essay types and thereby enhancing your ability to convey your message effectively.

Short Description

In our article, we will explore the tone of an essay examples and their pivotal role in conveying the author's message. We'll delve into three primary essay types—APA, Chicago, and MLA—highlighting their distinctive formatting and citation styles. We'll also demystify the concept of voice in an essay and explore how this elusive element can adapt and transform, resonating differently based on the essay's type and purpose. Join us in navigating the intricate world of writing an essay outline , where each word, tone, and style choice has the potential to captivate readers and effectively convey ideas!

What Is a Tone in Essay: Its Importance in Conveying the Writer's Message

Essay tone, often referred to as the writer's voice or attitude, is a critical element in conveying the writer's message effectively. It's the emotional and stylistic quality of the writing style that shapes how readers perceive and engage with the content.

The choice of essay tone is akin to selecting the right brushstroke for a painting. It sets the mood and influences the reader's response to the text. The significance of essay tone lies in its power to:

• Convey Emotion: It can infuse creative writing with emotions, making it more relatable and engaging. For instance, a narrative essay may employ a personal and emotive tone to draw readers into the author's experience.
• Establish Credibility: In academic writing, a formal and authoritative tone lends credibility to the author's arguments and research. It signals to readers that the author is knowledgeable and trustworthy.
• Persuade: Persuasive essays benefit from a confident and convincing tone that encourages readers to adopt the author's point of view. This tone is often assertive and backed by strong evidence.

Variety of Tones in Essays:

Essays can employ a range of tones, each suited to its specific purpose:

• Formal Tone: Often used in academic writing, the formal tone is characterized by precise language, adherence to grammar and punctuation rules , and a respectful, objective approach.
• Informal Tone: This tone is conversational and approachable. It's suitable for personal essays, blogs, and other content where the writer wants to connect with readers on a more personal level.
• Academic Tone: Academic essays require a tone that reflects a high level of professionalism and objectivity. Clarity and a focus on evidence-based arguments are paramount.
• Persuasive Tone: A persuasive essay adopts a tone that is confident, assertive, and often passionate. The goal is to convince the reader of a particular viewpoint.
• Narrative Tone: Narrative essays employ a storytelling tone, drawing readers into a personal experience. This tone often incorporates elements of description and emotion.

Understanding Essay Types

In the world of academic writing, essays come in various shapes and sizes, each adhering to specific guidelines and conventions. Three of the most commonly used essay types are APA , Chicago , and MLA. Understanding these essay types and their unique characteristics is essential for crafting scholarly work that meets the expected standards.

It's important to clarify the specific style and requirements they need, as these three major styles have key differences in formatting and citation styles:

Key Differences in Formatting and Citation Styles:

• APA (American Psychological Association): The APA style is widely used in professional writing, particularly in social sciences and psychology. It emphasizes clarity and conciseness, with a focus on the author's name and publication date within in-text citations. The reference page lists sources in a structured format, including the author's last name and initials, publication year, title, source, and DOI (if applicable). APA also employs a unique title page format with specific guidelines for headings and subheadings.
• Chicago Style: The Chicago style is a versatile format used in history, literature, and some social sciences. It offers two citation systems: the notes and bibliography system and the author-date system. In the notes and bibliography system, footnotes or endnotes are used for citations, while the author-date system employs in-text citations. The reference list or bibliography is comprehensive, featuring detailed information about the sources used, such as publication place and publisher.
• MLA (Modern Language Association): MLA style is commonly used in the humanities, including literature and language studies. It utilizes in-text citations with the author's last name and page number, promoting brevity. The Works Cited page contains full publication details, including the author's full name, source title, publisher, and publication date. MLA places a strong emphasis on clear and consistent formatting, including guidelines for headers and margins.

Importance of Adhering to Prescribed Style:

Adhering to the prescribed style for each essay type is of paramount importance in academic writing for several reasons:

• Clarity and Consistency: Consistent formatting and citation styles make it easier for readers to locate and verify your sources. This enhances the credibility of your work.
• Respect for Disciplinary Norms: Different academic disciplines have established specific citation styles to meet the needs and expectations of their respective communities. Adhering to these styles demonstrates your understanding of and respect for disciplinary norms.
• Avoiding Plagiarism: Proper citation ensures that you give credit to the original authors of ideas, information, or phrases you incorporate into your work. This is vital for avoiding plagiarism and upholding academic integrity.
• Professionalism: Employing the correct style showcases your professionalism and commitment to producing high-quality scholarly work. It also facilitates collaboration and communication within your academic field.

APA Style Essay

An APA (American Psychological Association) style essay is distinctive in its characteristics and guidelines, primarily designed for social sciences and psychology disciplines. In the realm of academic writing, understanding the nuances of tone and voice is fundamental, and this is particularly true for APA (American Psychological Association) style essays. The choice of tone and voice in an APA essay isn't merely a matter of stylistic preference; it's a crucial element that shapes the communication of your research and ideas.

• Formal and Objective Tone: APA essays demand a formal tone that maintains objectivity throughout. This formality is crucial for establishing credibility and professionalism in the eyes of your academic peers and readers. It signifies that your work is grounded in rigorous research and analysis.
• Precision and Clarity: Precision is key in APA essays. The language should be clear and unambiguous. Aim for clarity in your expression, ensuring that your ideas are communicated with precision. Avoid vague or convoluted language that may lead to misinterpretation.
• Impersonal Voice (Third Person): One distinctive feature of APA style is the use of an impersonal voice, typically in the third person. This means that instead of saying, 'I conducted a study,' you would write, 'The study was conducted.' This choice reinforces objectivity and minimizes any personal bias or subjectivity in your writing.

Chicago Style Essay

A Chicago style essay, known for its flexibility and adaptability, is commonly employed in disciplines like history, literature, and some social sciences.

• Formal and Scholarly Tone: When crafting a Chicago style essay example, maintain a formal and scholarly tone. The language should be clear, precise, and devoid of colloquialisms or slang. Academic professionalism is of paramount importance.
• Authoritative Voice: To convey your arguments effectively, employ an authoritative voice that asserts the significance of your research or analysis. This voice communicates confidence in your findings and conclusions.
• Clarity and Rigor: Chicago style essays format should be characterized by clarity and rigor. Avoid ambiguity and vague language. Be meticulous in your research, ensuring that all citations and references are accurate and complete.

MLA Style Essay

An MLA (Modern Language Association) style essay is widely used in humanities disciplines, such as literature and language studies.

• Formal and Academic Tone: An MLA style essay maintains a formal and academic tone, suitable for scholarly discourse. The language should be precise and professional, avoiding colloquialisms or slang.
• Objective and Neutral Voice: MLA style essay example requires an objective and neutral voice. Present your arguments and analyses in a balanced, unbiased manner. Avoid injecting personal opinions or emotions into the text.
• Clarity and Simplicity: Clarity is central to MLA style. Express your ideas in a straightforward and comprehensible manner. Simplicity in language is preferred, making the essay accessible to a broad audience.

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Tone of an Essay Examples

Let's explore examples of different essay tones and demonstrate how they influence the reader's perception, as well as highlight the profound impact of tone on the overall effectiveness of an essay. Whether you're looking for business writing or dealing with casual colloquial language, understanding these tones is essential:

Formal Tone:

• Example: 'The research findings indicate a significant correlation between A and B, suggesting a compelling link that merits further investigation.'
• Influence on Perception: A formal style conveys authority, professionalism, and objectivity. Readers perceive the author as credible and the information as reliable.

Informal Tone:

• Example: 'So, you won't believe it, but this study totally shows that A and B are like best friends. Seriously!'
• Influence on Perception: An informal language establishes a conversational and approachable connection with readers. It can make complex topics more relatable but may be perceived as less authoritative.

Persuasive Tone:

• Example: 'Without a doubt, it's imperative that we take immediate action to address this pressing issue. Our future depends on it.'
• Influence on Perception: A persuasive tone instills a sense of urgency and conviction in readers. It encourages them to adopt the author's viewpoint or take action.

Narrative Tone:

• Example: 'As I stood there, the sun setting behind the mountains, I couldn't help but reflect on the journey that had brought me to this moment.'
• Influence on Perception: A narrative tone invites readers into a personal experience, creating an emotional connection. It can make abstract ideas more vivid and relatable.

Humorous Tone:

• Example: 'You know, trying to understand quantum physics is a bit like chasing a squirrel on roller skates - entertaining, but you're not sure where it's going.'
• Influence on Perception: A humorous tone adds levity and charm to the essay, making it engaging and memorable. It can break down complex subjects and ease tension.

The Impact of Tone on Overall Effectiveness:

The tone of an essay wields considerable power over its effectiveness:

• Engagement: A well-chosen tone captivates readers, drawing them into the narrative or argument. Engaged readers are more likely to continue reading and absorb the essay's content.
• Clarity: Tone can enhance or hinder clarity. A clear and appropriate tone ensures that the essay's message is easily understood, fostering effective communication.
• Credibility: Tone shapes perceptions of the author's credibility. A tone that aligns with the essay's purpose and audience enhances the author's authority and trustworthiness.
• Emotional Connection: The right tone can evoke emotions, forging a connection between the author and readers. Emotionally engaged readers are more likely to empathize with the essay's message.
• Persuasion: In persuasive essays, tone plays a critical role in influencing readers' opinions and decisions. A persuasive tone can make a compelling argument more convincing, whether it's in business writing or a personal reflection in your own voice.

Voice in an Essay

While tone and voice are closely related elements in writing, they serve different purposes and convey distinct aspects of the author's communication. As already discussed, tone refers to the attitude, emotion, or mood that the author conveys through their writing.

Voice, on the other hand, is the distinctive style and personality of the author that comes through in their writing. It encompasses the author's unique perspective, individuality, and way of presenting ideas. Voice is the author's 'writing fingerprint' that sets their work apart and gives it a distinct character. It's not just about the emotional or rhetorical attitude but also about the author's stylistic choices, word selection, and sentence structure. Voice in an essay remains relatively consistent throughout an author's body of work and is what makes their writing recognizable.

Active Voice Essay

In writing, active voice is a grammatical construction where the subject of a sentence performs the action of the verb. It's a straightforward and direct way to convey information, emphasizing the 'doer' of the action. Understanding when and how to use an active voice essay is crucial for maintaining clarity and engaging your readers.

When to Use Active Voice in Essays:

1. To Emphasize the Subject's Action:

• Use active voice when you want to emphasize the subject's action or the 'doer' of the action. This brings focus to the agent responsible for the action, making the sentence more engaging.
• Example : 'The scientist conducted the experiment.'

2. To Improve Clarity:

• Active voice typically results in clearer, more direct sentences. It eliminates ambiguity and ensures the reader can easily discern who is performing the action.
• Example : 'The company announced the merger.' (Active) vs. 'The merger was announced by the company.' (Passive)

3. To Make Writing More Concise:

• The active voice often requires fewer words, making your writing more concise and to the point.
• Example : 'She wrote the report.' (Active) vs. 'The report was written by her.' (Passive)

Passive Voice Essay

While active voice places the emphasis on the subject performing the action, passive voice in essays shifts the focus to the action itself or the recipient of the action. Understanding when and how to use a passive voice essay is essential for conveying information with a specific emphasis.

When to Use Passive Voice in Essays:

1. To Emphasize the Action or Object:

• Passive voice is useful when you want to emphasize the action, process, or the object receiving the action rather than the person or thing performing it.
• Example : 'The novel was widely acclaimed by critics.' (Emphasizes the acclaim)

2. When the Doer Is Unknown or Irrelevant:

• Passive voice can be employed when the identity of the 'doer' is unknown or irrelevant to the context.
• Example : 'The Mona Lisa was painted in the 16th century.' (The focus is on the painting's creation, not the artist.)

3. To Maintain Objectivity:

• Passive voice can contribute to an objective tone in academic or scientific writing by minimizing references to the author or researcher.
• Example : 'The experiment was conducted under controlled conditions.'

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What Tone Should an Argumentative Essay Have?

An argumentative essay should typically have a tone that is assertive, persuasive, and rational. It's essential to maintain a tone that conveys confidence in your argument while respecting opposing viewpoints. Avoid overly aggressive or emotional tones. Instead, focus on presenting well-reasoned arguments supported by credible evidence and maintaining a respectful and professional tone throughout.

What Tone and Style Is Used in Academic Writing?

In academic writing, the tone and style should be formal, objective, and professional. Whether you decide towrite one yourself, you should know that academic writing is characterized by clarity, precision, and adherence to established conventions. Avoid using first-person pronouns (e.g., 'I' or 'we') and maintain a third-person perspective. Additionally, follow the specific formatting and citation style guidelines relevant to your academic discipline, such as APA, MLA, or Chicago. The goal of academic writing is to communicate research and ideas clearly and objectively to an academic audience.

As a Final Word

In the world of essay writing, your tone, voice, and style are like paintbrushes on the canvas. They set the mood, making your writing come alive. Whether you're writing an argument, sharing a story, or diving into academics, knowing when to use active or passive voice and choosing the right tone can turn your writing into something truly special. It's the blend of these elements that gives your message power, connects with your readers, and leaves a lasting impression. So, use your tone and voice wisely, and let your words leave a mark in the hearts and minds of your audience.

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Powerful Voices Ltd

Here at Powerful Voices, we’re passionate about helping people find their voice and communicate their wants and needs through comprehensive speech and language assessment, therapy, support and training. We believe everyone deserves to have a voice and we work hard to bring clients with complex needs a way to effectively communicate with the world around them. We work with individual clients as well as supporting schools in supporting children with special educational needs.

Not being able to express yourself and your needs can be incredibly frustrating. One in ten children have difficulties with speech, language and communication and the experts here at Powerful Voices offer support and therapy to help our clients reach their full communication potential. There are a range of issues that can cause difficulties with speech such as strokes, brain injuries, Autism and learning disabilities. It can be vital to manage and overcome in order to achieve success, have a good quality of life and maintain psychological health. We’re dedicated to bringing each of our clients a completely bespoke service, so they get the support and resources the need to achieve their language and communication goals.

Based in Northampton, we provide a range of services for clients aged between 0-25 in a variety of settings included at home, pre-schools, nurseries, mainstream schools as well as special schools and residential care homes. Thanks to our extensive experience, we have the understanding and expertise to incorporate a range of approaches and therapies, all of which are thoroughly researched and evidence based.

In addition to our face-to-face services, we over video and teletherapy services. This allows us to bring our expertise to clients throughout the country or continue our work when travelling is difficult.

We work with a range of speech and communication problems including unclear speech, stammers, autism, developmental language disorder, cerebral palsy, Down’s syndrome and selective mutism. We’re registered with the Health and Care Professions Council (HCPC), Member of the Royal College of Speech and Language Therapists (RCSLT) and the Association of Speech and Language Therapists in Independent Practice (ASLTIP), which means you can depend on us to be working to the highest possible standard and incorporating the most up-to-date research and therapies available.

We’re dedicated to helping our clients meet their goals. We believe in taking the time to find out what people are looking to achieve through our help so we can tailor our services to the needs of you, your child or person you’re caring for. We work closely and liaise with everyone involved such as school staff to ensure everyone around our clients are confident in supporting their communication development. As a therapy provider, we obviously want to set our clients up for success, which is why we work closely with families to ensure they have all the necessary information and understand the strategies being utilised to support your loved one’s communication growth.

Studies have shown that providing effective interventions for students with diverse speech, language and communication needs can effect positive change for the individual student and their family, but also for school. We take into account the necessary flexibility and your budgetary constraints while improving child performance across the curriculum. With an average of around 2-3 children per classroom dealing with language difficulties, it’s important for schools to recognise the need for intervention. Powerful Voices can assist in building and delivering strategies that meet the needs of individual children as well as the school as a whole.

No matter the issue or level of communication difficulties, our fully qualified, expert team have the experience and expertise to help them make great progress or even find different methods of communication if speech is not possible. Early intervention can be crucial in getting the right results. If you’re concerned about your child or you’re an adult needing our support, don’t hesitate to get in contact with the experts here at Powerful Voices. We’re friendly, approachable and provide a wide range services in the speech and language therapy sector. Whether you’re looking for classroom support, paediatric speech therapy or language intervention for adults in Northampton with special needs, the experts are Powerful Voices are the perfect team to help.

Our reports can be used for EHCP applications and reviews.

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Please send my appreciation to Melissa for an extremely comprehensive report giving clear guidance on way forward for the network to fully support L.

Thanks again for all of your help – you’re like an angel sent from heaven!!!!

My son has been receiving Speech Therapy for years. You are the first therapist to explain where his communication is breaking down and why you are putting your recommendations in place. Thank You

I have found having Melissa support me in class really useful, it has expanded my knowledge and she has helped support and progress all of the children

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Rotary essay contest leads to benefits for sixth graders.

Last week I had a volunteer opportunity, one that was well suited to my work with the printed word.

I helped to judge the local Rotary International essay contest for sixth graders from Marshall Middle School. I’ve judged it several times in the past five years, and each time I’ve been impressed with the writing skills of students.

An eight member committee composed of Rotarians and high school seniors judged a total of 24 finalist essays this year. They were all good. Everybody would have gotten at least a B-plus if I’d have had to give letter grades. There would have been many A’s.

The essays are based on Rotary’s Four-Way Test, a way of judging ethics in various situations. It asks the questions is it the truth, is it fair to all concerned, will it build goodwill and better friendship and will it be beneficial to all concerned.

The students were assigned to apply the four-way test to something in their lives or to a situation they experienced.

My personal favorite among all the essays was based on how the writer helped a little boy fix his sand castle after her sister knocked it down on her way to the water.

It stood out as a real act of kindness. She could have just decided that the little boy needed to act like a grown up and rebuild it himself. Instead she went out of her way to help.

It was also an interesting example of family dynamics. Her sister didn’t get in trouble for knocking over the castle, but she learned from the praise the writer received from her parents that it’s good to be considerate of others.

The other essays featured a wide range of topics. Some students talked about school activities like volleyball and dance. Others talked about having little brothers and sisters.

Several essays focused on cultural diversity. They explored whether our society is fair and beneficial to people from diverse racial and ethnic backgrounds.

Judging the essays leads me to have faith in our students and their teachers. All 24 finalists had a good command of the English language. Very few of them lost any points for spelling, grammar or punctuation errors.

The content of each entry indicated to me that the sixth graders also have very good interpersonal skills. Their application of the Four Way Test points to good critical thinking ability.

When we think in generalities it’s easy to conclude that communication skills aren’t as strong anymore. Technology gets heavy emphasis in eduction. Keyboarding is now taught in the lower elementary grades.

I never used a typewriter until I took a summer typing class in high school. I’m glad that my earlier learning experiences focused on real books and real activities. Still I liked having some exposure to computers starting in fifth grade. The Oregon Trail was one of my favorite games

It’s good to have events like Rotary’s essay contest to make us look beyond general perceptions. Clearly many of our young people are capable. They know how to express themselves.

Rotary members give over an hour of their time in the middle of a school day to serve as judges. It benefits the students, but it’s also an advantage for Rotarians.

It allows of for interaction with children and teenagers. When they see us serving as volunteers, it offers an incentive to consider someday joining a Rotary club.

I’m looking forward to next Wednesday when contest winners will be presented with awards. They’ve earned the recognition. Writing is a valuable skill that needs emphasis in many different classes. It’s a skill that should be developed and reinforced.

— Jim Muchlinski is a longtime reporter and contributor to the Marshall Independent.

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Guest Essay

What Is Going On in Pakistan?

By Ayesha Siddiqa

Ms. Siddiqa is an expert on Pakistan’s military.

For decades, Pakistan’s military has been the country’s most vital institution. Although it frequently intervened to oust elected governments, many Pakistanis saw this as salvation from the country’s blundering politicians. The army, it was thought, was the only force capable of holding the country together.

The question now is whether the generals can keep themselves together.

The military has suffered a catastrophic loss of prestige after the populist former prime minister Imran Khan directly challenged its influence. In response, Mr. Khan was ousted and jailed, and his party — despite winning the most parliamentary seats in a divisive February election — was shut out of a new civilian government that took power this month with the blessing of the military leadership. The country remains deeply polarized.

But an even greater concern for Gen. Syed Asim Munir, the army chief, is that the polarization extends into the military itself. It is common knowledge in Pakistani political circles that significant portions of the military leadership, powerful military families and rank-and-file officers are sympathetic to Mr. Khan’s right-wing, anti-American vision for the country, which included aligning Pakistan more closely with China and Russia. Whether this internal rift can be healed will ultimately decide the direction and stability of Pakistan, which has nuclear arms and is the world’s fifth most populous.

These divisions could hardly come at a worse time for Pakistan. The economy is near collapse , and General Munir is working to repair relations with Washington that were badly frayed by Mr. Khan’s politics. Pakistan is beset by political and security challenges on all sides, including by its archrival, India, under Prime Minister Narendra Modi, a Hindu nationalist, as well as Iran and the Taliban-held Afghanistan. Iranian forces launched airstrikes on targets in Pakistan in January, prompting Pakistani counterstrikes. This month Pakistani military posts were hit by militant attacks in the country’s south and along the border with Afghanistan.

The military, of course, bears much of the blame for the country’s predicament. After the decade-long military regime of Gen. Pervez Musharraf ended in 2008, Pakistan returned to a fragile democracy. But the army leadership began to fear that the two dominant political parties, the Pakistan Muslim League-Nawaz and the Pakistan People’s Party, were seeking to rein in military influence.

The generals faced other pressures, too. The United States imposed conditions on financial aid to Pakistan’s military in 2009 and killed Osama bin Laden on Pakistani soil in 2011. Later that year, 28 Pakistanis were killed in an accidental clash between NATO and Pakistani forces along the border with Afghanistan. A popular narrative gained ground, partly fanned by the army, that portrayed the United States as conspiring to undermine the nation’s sovereignty.

The military leadership sought a more cooperative political partner to help face these challenges and counterbalance the entrenched parties. It paired up with Mr. Khan, a popular cricket-star-turned-politician who had been a supporter of General Musharraf’s government and a harsh critic of Pakistan’s dynastic political families, which he accuses of corruption.

It backfired.

Mr. Khan, who was elected prime minister in 2018, inflamed Pakistanis with his calls to tear down the political establishment and reject American influence. But with inflation hitting double digits, he faced growing public criticism of his handling of the economy. He accused the military of conspiring with the United States to force him out, creating a rift. With a political crisis threatening to add to the economic problems, he was removed from office by a parliamentary no-confidence vote in April 2022 that bore the fingerprints of the military leadership.

When a high court ordered his arrest in May of last year, his supporters openly turned against the army, protesting in the streets and even attacking the residences of senior army officers and other military targets.

As last month’s elections approached, the military took steps to ensure Mr. Khan’s party would not win. He was sentenced just before the election to long prison terms on much-questioned charges of corruption and leaking state secrets, and severe restrictions were imposed on his party, Pakistan Tehreek-e-Insaf, that essentially barred its candidates from campaigning.

But Mr. Khan’s message — fanned by anger over the generals’ meddling — continued to resonate, and candidates aligned with his party stunned the military by winning the most seats in Parliament. The military kept them from power by engineering the current coalition government, which is headed by Prime Minister Shehbaz Sharif and includes traditional parties that the generals once sought to marginalize by aligning with Mr. Khan.

In addition to a withering economic and security landscape, that government now also faces large swaths of Pakistanis who feel the election was stolen. The military, which is propping up the government, is powerful enough that it might very well weather the damage to its reputation, but it needs to get its own house in order.

Serving and retired officers have explicitly called for General Munir to take a softer approach toward Mr. Khan, and it is widely known in Pakistan that members of some military families participated in last May’s protests over how Mr. Khan was being treated.

General Munir is busy trying to extinguish that fire, reminding officers that the violence last May targeted the military and moving to gag dissent within the armed forces to stop pro-Khan sentiments from spreading further.

He may succeed in the short term, but this story is far from over.

General Munir’s three-year term expires in November of next year, and many officers expect that his successor could be more sympathetic to Mr. Khan — the enmity between the two men is widely believed to stem from a personal rivalry — perhaps even leading to new elections and Mr. Khan’s return to the political stage. This would not be unprecedented: Pakistan has a history of backroom machinations resulting in ousted leaders being brought back. (The prime minister’s brother Nawaz Sharif was removed three times as prime minister and twice went into exile. He returned ahead of the February elections and is expected to exert behind-the-scenes influence over his brother’s government.)

This is where things could get dangerous for Pakistan. Mr. Khan has remained intransigent, refusing to negotiate with his rivals in the military and political establishment. Many fear where a vengeful Mr. Khan could lead Pakistan if he were to return. And yet if General Munir tries to extend his tenure to retain the status quo, military disunity could flare.

Army unity looks likely to hold for the time being. But all is not well in the military fraternity. Unless Pakistan’s generals can patch the rift over Mr. Khan, the country’s political stability, its security and its future will be difficult to predict.

Ayesha Siddiqa (@iamthedrifter) is a political scientist at King’s College, London, and the author of “Military Inc.: Inside Pakistan’s Military Economy.”

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