Transcription & Transcription Conventions

Any transcription system is designed to support a particular kind of analysis. For example, a speech therapist might transcribe talk so emphasise features of pronunciation and intonation, which will help diagnose problems of speech production.

In discourse and conversation analysis the style of transcription highlights those features of talk that are important for interaction. For example, information about regional accent will give relatively little information about whether an agreement is enthusiastic, but the length of delay before the agreement starts is extremely informative.

The main transcription conventions were developed by the conversation analyst Gail Jefferson. You may find it rather hard to read transcript of this kind to start with – but that is due to being used to conventional written text. You should quickly see how such transcript gives an accurate feel for the tape.

Note that many of the symbols are familiar as ‘punctuation’ marks, but here they are re-defined to signify intonation or speech delivery rather than grammar. Try to use these re-defined symbols (stops, commas, question marks, etc.) rather than cluttering up the transcript with lots of underlinings and arrows. That way the transcript remains useful as an indication of how things were said, without becoming unreadable, and without it looking like they were incredibly emphatic or singsong when they spoke—unless, of course, they were!

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[ ] Square brackets mark the start and end of overlapping speech. Position them in alignment where the overlap occurs, as shown below.

­ ¯ Vertical arrows precede marked pitch movement, over and above normal rhythms of speech. They are for marked, hearably significant shifts — and even then, the other symbols (full stops, commas, question marks) mop up most of that. Like with all these symbols, the aim is to capture interactionally significant features, hearable as such to an ordinary listener—especially deviations from a common sense notion of ‘neutral’ which admittedly has not been well defined.

® Side arrows are not transcription features, but draw analytic attention to particular lines of text. Usually positioned to the left of the line.

Underlining signals vocal emphasis; the extent of underlining within individual words locates emphasis, but also indicates how heavy it is.

CAPITALS mark speech that is obviously louder than surrounding speech (often occurs when speakers are hearably competing for the floor, raised volume rather than doing contrastive emphasis).

° ­ I know it,° ‘degree’ signs enclose obviously quieter speech (i.e., hearably produced-as quieter, not just someone distant).

that’s r*ight. Asterisks precede a ‘squeaky’ vocal delivery.

(0.4) Numbers in round brackets measure pauses in seconds (in this case, 4 tenths of a second). Place on new line if not assigned to a speaker.

(.) A micropause, hearable but too short to measure.

((text)) Additional comments from the transcriber, e.g. context or intonation.

she wa::nted Colons show degrees of elongation of the prior sound; the more colons, the more elongation. I use one per syllable-length.

hhh Aspiration (out-breaths); proportionally as for colons.

.hhh Inspiration (in-breaths); proportionally as for colons.

Yeh, ‘Continuation’ marker, speaker has not finished; marked by fall-rise or weak rising intonation, as when enunciating lists.

y’know? Question marks signal stronger, ‘questioning’ intonation, irrespective of grammar.

Yeh. Periods (full stops) mark falling, stopping intonation (‘final contour’), irrespective of grammar, and not necessarily followed by a pause.

bu-u- hyphens mark a cut-off of the preceding sound.

>he said< ‘greater than’ and ‘lesser than’ signs enclose speeded-up talk. Sometimes used the other way round for slower talk.

solid.= =We had ‘Equals’ signs mark the immediate ‘latching’ of successive talk, whether of one or more speakers, with no interval. Also used as below (lines 3-5), where an unbroken turn has been split between two lines to accommodate another speaker on the transcript page.

heh heh Voiced laughter. Can have other symbols added, such as underlinings, pitch movement, extra aspiration, etc.

uh um How to spell ‘er’ and ‘erm’ the Jefferson way. (Can be added to, etc.)

sto(h)p i(h)t Laughter within speech is signalled by h’s in round brackets.

 

 

Example 1: (NB:IV:13:R:25)

1 Emma: uh HONEY I'LL PRAY FOR EV'RYBODY=

2 Lottie: [=Alri:ght,]

3 Emma: [=I:- I ] don't kno:w,hh this: [uh w]orld goes o::n=

4 Lottie: [Yeh.]

5 Emma: =we have to keep ¯ goin' do[n't we.]

6 Lottie: [Ye:ah, ]

7 (.)

8 Lottie: [U h h u h ]

9 Emma: [D'you feel h]a:ppy toda:y?

10 (0.4)

11 Lottie: ­ Ye:ah.

12 Emma: Good.

13 (.)

 

Example 2: (Holt: Christmas 1985: Call 4)

1 Joy: °(Eight four eight seven: six oh five)°

2 Les: Oh ^hello Joyce are ^you going^ t'the mee_ting t'ni:ght,

3 (0.2)

4 Joy: .hhh No I'm not Leslie.

5 Les: No_:. O[^kay then:,

6 Joy: [_No.

7 (0.4)

8 Joy: No:, sorry about that

9 (0.3)

10 Les: [ ° Right then° ]

11 Joy: [I: think I'm un]able to make that one:,

12 (0.4)

13 Les: No.

14 (0.3)

15 Les: I don't think it c'd be very _well supported,

16 (0.2)

17 Joy: You don:'t

18 Les: No ^Are you going t'North Cadbury,

19 (.)

20 Joy: Eh:m I _might.

21 (.)

22 Les: Y[es.

23 Joy: [It's ub-i-it's: I'm not sure, b't ih-if I wen:t out at a:ll hh

24 it would be: to North Cadb'ry of

25 Joy: cou[rse ° (c]z)°

26 Les: [e_Yes. ]Are you not feeling very[we:ll,

27 Joy: [° ( )°

28 (.)

29 Joy: No I'm alri:ght

 

 

Jonathan Potter

February 00