Finding Your Voice

 In chapter 7 of Irene Clark's Concepts in Composition: Theory and Practice in the Teaching of Writing, Peter Elbow makes another cameo appearance, so (of course) I loved the chapter. Elbow defines voice as "what most people have in their speech but lack in their writing--namely, a sound or texture--the sound of 'them'" (Clark 229). Elbow asserts that the best way to discern one's voice is to write frequently and in a low-stakes environment, which he defines as "freewriting." The concept of personal voice in writing resonates with me as a student and as a future teacher.

As a student, I have been practicing not "losing my voice" in my research writing. I find it really easy, even as a graduate student, to rely too heavily on good quotes from reputable sources to carry my thesis. It is tempting--even in my own writing--to succumb to "imposter syndrome." How can I have anything to say that would be as good as what Dr. So-and-So said in this peer reviewed journal? There goes my voice, because there went my confidence. If voice is "the source of explanatory power," why do I think I cannot explain a concept without an expert who agrees? Because I gave my power away. I regain my power when I take the risk of saying what I think, taking the risk that I might be wrong, and saying in my own voice. I have begun practicing this more and more, as stop thinking about the audience (as one does in freewriting), and I start thinking about what I want to say. If I still struggle in this area, I know I will have students who also struggle. So, I am really grateful for the opportunity to identify this in myself, work through it as a student, and take that experience into my teaching.

As a future teacher, the concept of voice fascinates me, because I want to hear my students' voices. I want to see them write and do scholarship from a place of authenticity and confidence. I think it is important that, as a teacher, I do not grade for style, but for content. I think it is less important that a student sound academic than that they do academic work. To clarify, I think it is important to learn to operate in the genre you're participating in, but to participate fully, you must keep your voice. In his essay, "How to get Power Through Voice," Elbow says, "The standard approach in writing is to say you mustn't pull the trigger until you can aim it well. But how can you learn to aim well till you start pulling the trigger? If you start letting your writing lead you to real voice, you'll discover some thoughts and feelings you didn't know you had" (Clark 250). I think this means freewriting and allowing students time to practice, but I also think it means encouraging "bad drafts." I think students often feel like a rough draft can't be rough, or it is supposed to be pretty close to done. I wonder if this chokes the voice a bit? I wonder if I sold rough drafts as an opportunity to write really badly, but say something you really want to say, if students would be freed up to keep their voices while they do difficult writing? I think this is worth a try. 

Elbow offers an interesting exercise for getting feedback: when reading student writing, as yourself, "Do I believe that the writer believes his own words?" (Clark 251). This seems to me an excellent way to start a first reading of a draft. Does this paper convince me that the writer is convinced of her own assertions? Is there any passion or power in the words? Do she take any risks? Does she say anything? I want my students to feel like they can say something, even if they can't find an expert who agrees. So maybe I have to start giving myself a little more freedom to infuse my own writing with risk, passion, and voice.