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This article examines sniffing in everyday conversations. It builds on prior conversation analytic research on respiratory conduct, which has shown how things like inbreaths, sighs, and laughter are delicately organized and consequential components of the social occasions into which they figure. Sniffing-the swift, audible, intake of breath through 10 the nasal passage-is analyzed by reference to its sequential placement in talk. Using a collection of 70 cases of sniffs in naturally occurring conversations, two recurrent uses of sniffing are described. Sniffs placed before or during a turn-at-talk serve to delay turn progression. And sniffs placed in the postcompletion space of a turn can indicate its comple-15 tion. This association between postcompletion sniffing and turn completion is further supported through a comparison with postcompletion inbreaths. By situating sniffing in its sequential contexts, the organization of breathing is shown to be bound up with the organization of speaking. Data are in American and British English.
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Waiting to Inhale: On Sning in Conversation
Elliott M. Hoey
Department of Linguistics and Literature, University of Basel, Switzerland
ABSTRACT
This article examines sning in everyday conversations. It builds on
prior conversation analytic research on respiratory conduct, which has
shown how things like inbreaths, sighs, and laughter are delicately
organized and consequential components of the social occasions into
which they gure. Sningthe swift, audible, intake of breath through
the nasal passageis analyzed by reference to its sequential placement
in talk. Using a collection of 70 cases of snis in naturally occurring
conversations, two recurrent uses of sning are described. Snis placed
before or during a turn-at-talk serve to delay turn progression. Andsnis
placed in the postcompletion space of a turn can indicate its comple-
tion. This association between postcompletion sning and turn com-
pletion is further supported through a comparison with postcompletion
inbreaths. By situating sning in its sequential contexts, the organiza-
tion of breathing is shown to be bound up with the organization of
speaking. Data are in American and British English.
Sningtheswift,audible,inhalationthroughthenoseis analyzed in this article as a social
interactional phenomenon. Much existing research on sning has approached the topic from
medical, physiological, and neurocognitive perspectives, with concerns like hung/sning
toxic substances (e.g., Streicher, Gabow, Moss, Kono, & Kaehny, 1981) and olfactory perception
(e.g., Wachowiak, 2011). By contrast, this article oers a naturalistic account of sning as an
identiable and recurrent behavior in everyday conversational interaction. It is situated in the
tradition of research that has shown how linguistically marginal vocalizations like response cries
(Goman, 1978; Hofstetter, 2020/this issue) and sound objects (Reber, 2012; Reber & Couper-
Kuhlen, 2020/this issue) are interactional practices delicately tted to their sequential contexts.
On the basis of a range of naturally occurring interactions in English, the analysis demonstrates
how sning is used as an organizational resource in turn construction and turn taking.
Respiration in interaction
Respiration is a prerequisite for speech, so we expect forms of breathing to be related to forms
of speaking. The relationship between respiration and speech planning has long been
a concern in psycholinguistics, but such work has historically relied on reading studies and
controlled laboratory experimentation rather than natural conversation (Włodarczak &
CONTACT Elliott M. Hoey elliottmichael.hoey@unibas.ch Department of Linguistics and Literature, University of
Basel, Maiengasse 51, Basel 4056, Switzerland.
A version of this article was presented at the 2018 ICCA panel on nonlexical vocalizations. It has been improved through
helpful feedback from David Aline, Kobin Kendrick, Uwe Kuttner, Steve Levinson, Lorenza Mondada, and ROLSI reviewers
and editors of this special issue.
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION
2020, VOL. 53, NO. 1, 118139
https://doi.org/10.1080/08351813.2020.1712962
© 2020 Taylor & Francis Group, LLC
Heldner, 2017; though see Torreira, Bögels, & Levinson, 2015). Close observation of con-
versation, however, can reveal participantspractical knowledge of breathing and speaking. As
Scheglo(1996, p. 106) observed:
Breathingswhether in or outare practices; they can be done in various modalities (e.g.,
designed to be heard or not, of dierent sizesor depths); they can be placed variously in
the developing structure of the [turn-constructional unit]. They [] are deployable elements
of its construction, and thus candidate building blocks for its grammar.
Breathing has long been recognized as important in the organization of turn taking
(Sacks, Scheglo,&Jeerson, 1974). Inbreaths can show a participant as gearing upto
speak (Jeerson, 1986) and recurrently serve as pre-beginning objects that project turn
initiation (Scheglo, 1996). This association between an inbreath and imminent talk is so
conventionalized that releasing that breath is often treated as abandoning preparation to
speak (Lerner & Linton, 2004; Local & Kelly, 1986). The dierence between inbreaths-for-
speaking and inbreaths-for-respiration is hearable as well. Pre-beginning inbreaths show
greater amplitude than subsequent same-turn inbreaths (Aare, Włodarczak, & Heldner,
2015). Similarly, inbreaths associated with turn initiation tend to be longer than those
associated with turn holding (Hammarsten, Harris, Henriksson, & Włodarczak, 2015).
An underlying feature of respiratory practices is their manipulability. Participants can
specically place and design their respiratory doings. Broth (2011), for example, has
shown that theater audiences refrain from coughing and throat-clearing during actorson-
stage actions, indicating that audience memberspositioning of such objects is normatively
organized. Various manipulations of breathing are available to interactants. For example,
relatively intense inbreaths (gasps) can project some reportable matter by indicating that
something was just remembered, noticed, or realized (Lerner & Linton, 2004). The shock
that gasping can display neatly contrasts with its reverse action, relatively intense out-
breaths (sighs), which often convey weakly negative aect akin to resignation (Hoey,
2014). As the cases of gasping and sighing suggest, many respiratory behaviors are
conventionally associated with aect and stance taking. Laughter, of course, is the para-
digm case of this (e.g., Jeerson, Sacks, & Scheglo, 1977), but scholars of interaction have
also documented the situated uses of things such as teeth sucking (Goodwin & Alim,
2010), clicks (Ogden, 2013, 2020; Wright, 2011), and the characteristically French pf
(Baldauf-Quilliatre, 2016). This article continues this line of research by taking sning
as its focus.
Sning
Analytic interest in sning emerges from its potential for social use by interactants.
Research has only recently begun on the social dimensions of sning. Work in social
psychology has shown that experimental subjects often snitheir hands after greeting
a confederate with a handshake (Frumin, Perl, Endevelt-Shapira, & Sobel, 2015) and that
movie viewers mirror the sning behavior of on-screen actors (Arzi, Shedlesky, Secundo,
& Sobel, 2014). In nonhuman animals, subordinate rats have been observed decreasing
their sning frequency when being inspected by dominant rats, suggesting that sning
indicates social hierarchy (Wesson, 2013). This article adopts an interactional perspective
on sning and analyzes it as a social practice.
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 119
Sning has features that seem to aord communicative use, especially as a practice
distinct from inbreaths. First, sning moves air at a higher velocity than modal breathing,
resulting in its characteristic sound. That is, sning is auditorily distinct from inbreaths,
and so participants may treat them dierently. Second, the anatomical mechanics of
sning may predispose it to interactional use. If the lungs are near capacity, sning is
relatively dicult, suggesting that deep inbreaths (i.e., in preparation to speak) are in
complementary distribution with snis. Furthermore, sning is most easily done with lips
closed, which is often understood as a visible display of nonspeakership. And third,
sning can be presumed to be done volitionally and therefore as designed in both its
placement and form.
Goman was perhaps the rst to attend to sning as a social activity. Though sning
itself was never his express interest, Goman (1974) developed a framework for under-
standing it as an out-of-frameactivity that ts into a directional streamof interaction,
where it may organize participantsattention and regulate activity progress. He specically
characterized sning as a creature releasealongside other bodily attentive acts like
scratching and coughing. Lerner and Raymond (2017) similarly argued that bodily
attentive conduct could be used to regulate participation, insofar as things like self-
grooms oer participants somewhere else to go and something else to do(p. 312).
The ways in which sning may frame or regulate interactional behavior has been the
subject of some conversation analytic work. Hepburn (2004) examined sning and
sniingduring episodes of crying by callers to a support helpline (see also Hepburn
& Potter, 2007). Her preliminary look at sning showed substantial variation in form:
Sning varied in intensity and routinely accompanied other nasolaryngeal sounds to
produce hearably wetand snortysnis. Additionally, Hepburn observed that the
positioning of snis often seems interactionally interesting(p. 264), noting in particular
its occurrence in lapses (Hoey, 2015), after bouts of sobbing, and prior to same-speaker
talk. The association between snis and troublebroadly understood was also observed in
later studies. In a study of second-language classroom interactions, Hosoda and Aline
(2012) demonstrated how snis and other nonvocal conduct recurred amidst trouble in
formulation and suggested that they served to buy extra time(p. 65). Ticca (2013)
similarly suggested that snis in the prebeginning region of an answer could presage
a dispreferred response.
Taking these observations and studies as a point of departure, this article explores the
recurrent uses of sning in everyday conversations. It seeks to develop an account of the
respiratory behavior by reference to its placement in the course of the participants
situated activities.
Data and methods
The analysis is based on a collection of 70 cases of sning, which refers to the swift,
audible intake of breath through the nasal cavity that occurred out of sync with normal
respiration. These were located via text search of transcripts for the terms ((sni)), .snf,
and minor variants thereof. I used transcripts of audio/video recordings of natural
interactions in American and British English (e.g., Newport Beach, Holt/Field corpus,
and Santa Barbara Corpus). Most were transcribed using Jeersonian conventions (2004),
though some were created using Discourse Transcription (Du Bois, Schuetze-Coburn,
120 E. M. HOEY
Cumming, & Paolino, 1993) or GAT2 (Selting & Auer, 2011). Nearly all cases (96%, n
= 67) came from casual conversations between family, friends, and intimates; the remain-
ing three cases appeared in a Watergate telephone call, a workplace meeting, and a doctor-
patient interaction. These recordings were collected by researchers with the participants
informed consent.
Acoustically, the snis in my collection were relatively consistent in form. Figure 1
shows a sni(from Extract 1), which is representative of most cases: It lasts about 250 ms,
occurs under one respiratory contour, and, as shown by the blue line, rapidly builds in
intensity/loudness, peaking at 66 dB then decreasing in energy.
Snis can, of course, depart in form from this typical instance, though the variation in
my collection is less than the diversity of formats that Hepburn (2004) found in crying-
related sning. Sniduration ranged from 150900 ms. Regarding intensity, most were
clearly hearable, and others were almost inaudibly soft. While most cases (86%, n= 60)
appeared under one respiratory contour, there were also compound snis, such as long
continuous snis with two peaks of inspirational intensitythese were counted as single
snis in the collection.
To approximate the phenomenon acoustically, all snis for which audio was available
are transcribed as >.nh< (cf. Hepburn, 2004, p. 264). The >< symbols capture the rapidity
of sning, which is the qualitative acoustic criteria used to distinguish them from other
nasal inbreaths, which are transcribed as .mh or .nh (see Mondada, 2020/this issue on
olfactory nasal inbreaths). Some transcripts were taken from existing publications, and
audio data was not available; the snis in these transcripts (Extracts 5, 13) appear as in the
originals.
The sning behavior examined in this article is distinguishable from olfactory sning
(see Mondada, 2020/this issue). None of the snis in my collection appeared to be odor-
directed. Moreover, most cases (84%, n= 59) came from telephone calls, meaning that
Figure 1. Spectrogram and waveform of a typical sni.
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 121
participants were in separate olfactory environments, which largely controls for the
possibility of sning to detect what others are smelling (see Arzi et al., 2014).
Though sning is often associated with illness, allergies, crying, etc. (i.e., sning to prevent
uid/mucus from escaping the nose), no distinction was made a priori between that and
sning that is done for apparently no reason.Though we may suspect that these are
dierent phenomena, it remains to be seen whether they are in fact organized dierently in
conversation. And methodologically we should avoid speculating about whether a participant
actuallyneeds to sni. Furthermore, while there may be auditory dierences between such
wetand drysnis, that is not invariably so. For this article, then, I remain agnostic
regarding the relationship between sning and the participants physical condition.
The analysis follows a conversation analytic approach (see Hoey & Kendrick, 2018),
which assumes that social interaction exhibits order at all points(Sacks, 1984).
Accordingly, the orderliness that sning presumably exhibits is what the following
analysis seeks to describe. I proceed structurally, analyzing what sning does according
to where it occurs in the organizations of turn (Scheglo, 1996) and sequence (Scheglo,
2007). I rst describe snis by selected next speakers, who may snibefore beginning
a response (n=5), and by current speakers, who may snimidturn before a rst place of
possible turn completion (n= 13). I argue that these snis delay the progressivity of the
speakers turn. Then I describe snis that speakers produce after possible turn completion
(n= 29), which, I argue, routinely mark turn completion and yield the turn space. In the
nal analytic subsection, I compare postcompletion snis with postcompletion inbreaths,
and through distributional evidence and deviant case analysis, I argue that these are
dierent practices, rather than merely alternate means of respiration.
1
Analysis
Delay and delicacy
Sning is a determinate acoustic occurrence. It not only occupies some stretch of time in
interaction but also physiologically inhibits concurrent speech. Perhaps for these reasons it
stands among the class of devices for delaying the initiation or progression of a turn-at-talk.
Next speaker snis before beginning response
When a participant is selected to speak next, he/she may snibefore beginning their
response (n= 5).
2
The placement of a sniin this prebeginning position (Scheglo, 1996)
amounts to delaying a next item due (Hosoda & Aline, 2012, p. 66fn) and can pregure
a dispreferred response. In Extract 1, two couples (Vivian and Shane; Nancy and Michael)
are working out the logistics of attending an event together. Nancy asks Michael when the
1
The reader may note that the analysis is restricted to speakerssnis and covers only 48/70 cases. The
remaining 22 cases occurred in the following environments: recipient snis at TRP of current speakers
turn (n= 9), recipient snis in middle of current speakers turn (n= 8), participant snis in a long
lapse (n= 3), and recipient snis in postbeginning of current speakers turn (n= 2). Fuller analysis of
these is reserved for another report.
2
Though only two examples are shown in this section, all ve precede an analyzably dispreferred or
misaligned response.
122 E. M. HOEY
other couple should cm over tmorruh.Michael is now obligated, as next speaker, to
respond (Scheglo& Sacks, 1973). Transcripts follow Jeerson (2004) conventions.
(1) ChickenDinner_2340
01 NAN: Soo w'time sh'd they c'm over t'°morruh.°
02 MIC: >.nH< ((withdraws gaze))
03 (1.5)
04 MIC: I don'know wuh ti-:me
05 (1.1)
06 MIC: °ah:::m°=
07 SHA: =He's g'nna ask me. He's he's goin=
08 SHA: =Ee[z (gotta resoom) tuh ask me.
09 MIC: [Sha (prohibly)c' c'm over abah:t- (0.5) no later'n
10 eight thirdy.
Michael, rather than responding right away, shows considerable diculty in answering.
This is rst observed in his sni(line 2), which occurs in the transition space of Nancys
turn. Its placement here, an environment where turn transfer should properly occur,
renders the snihearable as a pre-beginning element (Scheglo, 1996) to Michaels turn to
come. Michaels coparticipants also treat Michaels turn as forthcoming, insofar as they do
not treat the lack of an answer as due to disattention or misunderstanding. The sequential
placement of this snishows it to be an alternative to turn initiation; it displaces his turn
by occurring in the place normatively reserved for beginning a response.
Michaels sniis a rst component of several that indicate an upcoming dispreferred
response. After he snis, Michael withdraws his gaze and allows silence to develop (line 3),
both of which portend trouble (Kendrick & Holler, 2017). And indeed, in his response he
doesnt provide a relevant answer (i.e., a time when they should come over) but
a dispreferred nonanswer I dont know(Beach & Metzger, 1997; Keevallik, 2011;
Stivers & Robinson, 2006).
A similar case follows, taken from a recording of a family dinner. Virginia implores her
brother Wesley to intercede on her behalf and convince their mother to increase her
allowance. Virginia rst summons his attention then makes her plea.
(2) Virginia_1716
01 VIR: °Wesley. °Wesley.
02 PRU: Mm hm.
03 (.)
04 VIR: °Plea:se try tuh help me talk Mom (into't.)
05 please?<I'd do it for you,
06 (0.4)
07 WES: EHHHH! [hih-heh-huh.uh! °huh-huh ] (.) °uh
08 PRU: [Ah-hah-hahh-uh-huh-huh-huh]
09 VIR: Plea::se.
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 123
10 (0.9) ((WES lifts drink))
11 WES: >.nh<
12 PRU: °uh .hhh
13 (0.4) ((WES suspends glass before face))
14 WES: eh-uh:: (.) I'll think about it.
After Virginias plea, there is a gap followed by disaliative laughter from Wesley (who is
joined by his girlfriend Prudence). Their laughter treats Virginias plea as risibly overdone
(Clift, 2016). It is a reaction to the formatting of her action rather than to the action itself,
which allows Wesley to avoid responding to her request (Sacks, 1989). Virginia never-
theless pursues with Plea::se(line 9), providing Wesley another opportunity to respond.
In this environment, Wesley reaches for his glass as a gap develops (see Hoey, 2018b), and
while he brings it to his face, he snis (lines 1011). This sniprecedes the suspension of
his glass before his face (see Raymond & Lerner, 2014) and a noncommittal Ill think
about it(lines 1314). Like the last extract, this sniheralds a dispreferred response.
What this extract shows in greater detail is how the snimarks a change in the speakers
interactional trajectory.
3
Wesleys snimarks a shift in stance regarding Virginias request
from openly disaliative to noncommittal. This parallels an embodied change too: His
snimarks a shift from bringing drink to faceto suspending drink before mouth.
Selected next speakers may thus snibefore beginning a response, which delays that
action and can portend a dispreferred turn.
Current speaker snis midturn
Sning can also implement a delay after recognizable turn beginning and before that
turns possible completion (n= 13). Speakers may sniat a place of syntactic incomple-
tion, where some determinate linguistic item has yet to arrive (see Ford & Thompson,
1996; Scheglo, 1996). These midturn snis regularly occur in the doing of hesitationor
delicacy(see Lerner, 2013). In the following, Gordon is producing the very sensitive
action of breaking up with his girlfriend Denise over the phone.
(3) G&D:II_Breakup
01 GOR: I think maybe u- u- I w- (0.2) um would like tuh-
02 stop really goin ou:t at least for right no:w
03 DEN: Yeah.
04 GOR: .hh U::m I jus- .hhhh (0.5) u::h hh I feel really ba:d
05 because I- u:m (1.0) >.nh< I wish- I think I just we
06 dont have as much in common as: I think we both tho:ught
Breaking up with someone generally accompanies a reason for breaking up.Gordon
projects his reason with I feel really ba:d because,then cuts othat turn constructional
unit (TCU). In the space where some explanation is expected, we instead see an u:m,
a 1-second pause (Jeerson, 1989), and a sni(line 5). These turn constructional devices
3
I thank a reviewer for suggesting this line of analysis.
124 E. M. HOEY
constitute Gordons action as sensitive. Had he produced a reason for breaking upwith
no display of diculty, he could be seen as glib or insuciently sympathetic. But by
arresting the forward progression of that action, he exhibits it as dicult to formulate.
After these hesitation devicesthe last of which is a sniGordons turn shifts slightly in
trajectory: While he had projected a reason for feeling bad,where he ends up is we
dont have as much in common as I think we both thought.This shift echoes what was
seen with the sniin Extract 2 and comes into plainer view in the following extract.
In Extract 4, Jill snis while formulating a disagreement with her boyfriend Je, who
makes the dubious claim that you can legitimately make assumptions based on your
feelings because sometimes it turns out to be that way.
(4) SBC028_1837
01 JEF: you know like (.) you ca::n (.) make an assumption
02 (0.4) and, (0.2) .mh you can assume something that
03 feels (0.3) yknow really- (0.5) (e)- (.) correct
04 and<and it turns out to be that way.
05 (0.5)
06 JIL: .h sure, some of the time?
07 (0.3)
08 JIL: KHEHehheh=
09 JEF: =.H (0.4) uh yeah.
10 (0.2)
11 JIL: .H: £I feel like,£ (0.2) well: if you also felt that
12 (.) º>.nh< I: don't know you could feel ºsomething that
13 (0.6) wouldn't be proved right¿º
14 JEF: .mk yeah.
Jes claim is initially met with silence, portending disagreement, which Jill provides in
the form of less-than-full agreement (Pomerantz, 1984) moderated through postcomple-
tion laughter (Shaw, Hepburn, & Potter, 2013). What is relevant here is some account
for her disagreement. Jes acknowledgment (line 9) orients to this by passing on the
chance to respond (Scheglo, 1982). Jills account for disagreement begins with an I feel
likehedge produced with smile voice quality, which auditorily indexes a nonthreatening
stance. She then abandons that phrasing and embarks in another direction using a well-
prefaced (Heritage, 2015) conditional statement if you also felt that(line 11). This if-
clause projects a complement clause, but rather than producing that clause, Jill pauses,
snis, and restarts her account. This extract, then, structurally resembles the previous
one: While producing a disaliative action, the speaker halts turn progression, pauses,
snis, and shifts direction. That is, the midturn placement of the sninot only
constitutes her action as delicate but also pregures a change in trajectory. In this
case, Jill had projected a complement clause but then, after sning, reworks her turn
as an I dont know-qualied counterargument (lines 1213).
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 125
The delicate actions shown here are constituted as such in part through the midturn
placement of snis. This emerges from the more general feature of snis as a device for
delaying the progressivity of talk. In the following cases, speakersmidturn snis operate
as part of word searches (see Goodwin & Goodwin, 1986), specically approximation
searches.
(5) T15:1112 (from Zimmerman, 1993)
01 A: An all the- fraTERnides ansaRORities are having
02 ((sniff)) che:ers and stuff like that
03 B: heh-heh
(6) SBC028_1101
01 JEF: he went from like the romantic- sexual getawa:y, to:=
02 JIL: =UHhhm=
03 JEF: =>yknow< a soul searching_ (.) >.nh< bond with nature
04 typea: hh deal.
(7) NBIV13_0916
01 EMM: Da:mn turkey y'c'd put'n the .hff >.nh< thing in the
02 oven 'n ba:sting it'n errything'n
In each case, the speaker stops speaking at a place of syntactic incompletion then
snis before producing a searched-for word. Each case also has a general extender
formulation (Overstreet, 1999): and stulike that, typea: hh deal, and n errything.
Theseinvokeabroadersemanticdomainthat encompasses the searched-for word
and retroactively exhibit it as an imprecise but good enoughformulation.
4
These extracts demonstrate how speakers use sning as a turn constructional
device for delaying a turns forward development. Speakers snias an alternative to
producing some projectably relevant talk, either in the course of or just prior to
aspeakers turn. These positioningsallowspeakerstopregure an upcoming dis-
preferred response, show delicacyin formulation, and do approximationword
searches.
5
In the following subsection, I move forward in the organization of a turn
to examine snis placed after the possible completion of a turn or TCU.
4
Contrast with precisionsearches (see Lerner, 2013), where speakers are accountably invested in
getting it right(e.g., person or place name). Contrastively, in doing approximationspeakers seem
less attached to their searched-for word and may indicate the acceptability of alternates (through,
e.g., yknow or general extenders).
5
This section shows ve examples of midturn snis out of 13 in the collection. The remaining eight
cases were categorized as follows: two delicatetypes, three word searchtypes, and three activity
shifttypes. Activity shift snis were not shown for space considerations, but a brief description can
be given: Participants may snimidturn prior to a change in activity, such as going from a prosaic
description to an embodied reenactment or depiction. This is consistent with the analysis of other
midturn snis in that activity shift snis preface a slight change in the speakers trajectory.
126 E. M. HOEY
Marking turn completion and yielding the turn space
The primary locus of turn-taking activity is the transition relevance place (Sacks et al.,
1974; Scheglo, 1996), and so conduct appearing around there will be organized relative to
the practical problems of coordinating turn transfer. In this section I argue that snis
occurring post-possible-turn completion (n= 29) routinely mark turn/sequence comple-
tion and yield the turn space. These cases appeared in a variety of sequential positions:
after a possible sequence-nal turn (n= 14), after a rst pair-part (n= 8), at possible story
completion (n= 5), after the recognizable launch of a story (n= 1), and after a backchannel
during a telling (n= 1).
Post-possible-completion snis
Speakers regularly arrive at possible turn completion and then sni.
6
In the following
cases, speakers produce an initiating action and then snidirectly after turn comple-
tion.
(8) NB:IV:10R_p2_1446
01 EMM: Isn'that a pretty place that Spa:, >.n[hh< >.nh<]
02 LOT: [Ye:ah.Gee en ]we
03 jist hadda ba:ll
(9) NB:IV:4_1058
01 LOT: Howard didn'have enough left yihknow en'e gay me the
02 money? [>.nHh<
03 EMM: [Ye:ah.
04 (.)
05 LOT: tSo ah ent do:wn there'n got et (.) Rancho a fresh one.
In these cases, sning occurs in the transition space of a sequence-initiating action and
overlaps with the next speakers response. The coincidence of the sniand response
6
Some postcompletion snis seem to have a physiological motivation of recovering breath. This is
apparent after laughter, which involves relatively great respiratory exertion. In the following, Lottie
completes her turn with laughter and then snis.
NBIV10R2_1841
01 LOT: I yelled in et'er tuh Ad'line 'n God s(h)he b(h)een up
02 f::er (.) HOU:RS YIHKNOW EN she's gunnuh be quiet fer
03 ME¬*:..h[k hu[.>.nhhHh<
04 EMM: [°¬*Oh:° [°*bless'erhear:t.°
This postlaughter environment doesnt exclusively host sning, however. Oral inbreaths are common
after laughter (Jeerson et al., 1977, p. 66; Hepburn & Varney, 2013). Furthermore, sning also occurs
after bouts of sobbing (Hepburn, 2004). Laughter and sobbing are both respiration-heavy activities
and may occasion the intake of breath. Postlaughter snis may thus be part of a more general
practice whereby inbreathsoral or nasalfollow a respiration-heavy activity.
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 127
reveals participantsconvergent orientations to this space as one where turn transfer
should occur.
We can contrast sning with alternative occupants of this environment. The default
case would be ordinary turn completion through prosodic, syntactic, and pragmatic
completion (Ford & Thompson, 1996). This environment also provides for turn extension,
for example through abrupt joins (Local & Walker, 2004). In contrast to practices for turn
completion and turn extension, sning may act as a turn-yielding device, similar to tag
questions (Sacks et al., 1974) and sequence recompletion (Hoey, 2017). Sning augments
other turn-completion practices by audibly showing the participant as doing something
that precludes speech.
To more fully appreciate how post-possible-completion snis can mark turn completion
and turn yielding, we can consider them in a range of sequential environments. One
environment where coordinating turn transfer is a systematic problem is at possible sequence
completion (Hoey, 2018a). In this environment, participants have treated the current course
of action as adequately complete and in need of no further action (Scheglo,2007).This
normally provides all participants the opportunity to self-select and proceed to something
else. But its also systematically provided that no one in particular ought to speak next. These
circumstances provide for the relevance of turn yielding and therefore for the relevance of
asni. In Extract 10, Jill and Jeare chatting on the phone, marveling at the rapid pace of
their friendsmedical school year.After his fastassessment (line 1) Jelaunches
a question-answer sequence with when did they start(line 3).
(10) SBC028_1200
01 JEF: That's a fast (.) medical school year.
02 JIL: Unh hu::h..h=
03 JEF: =Wo:w when did they start,
04 JIL: ihwas really quick,<I think=h u:m, like mid-August?
05 JEF: ºmid-Au:gustº
06 JIL: ye::ah.
07 (.)
08 JIL: or maybe mi- (0.3) maybe the beginning of August.
09 (0.3)
10 JIL: >.nhh<
11 (0.6)
12 JIL: .mTSK [maybe the beginning.
13 JEF: [Wow
This question-answer sequence arrives at possible completion in line 8, where Jill
revises her answer. Possible sequence completion permits movement onto other tra-
jectories of action (Scheglo, 2007). But here, rather than moving onto something else,
a silence develops into which Jill places a sni(lines 910). With this, Jill recognizably
passes up the opportunity to speak. Due to its placement in a sequence closure
environment, her snioperates retrospectively, by treating the prior sequence as
adequately complete, and prospectively, by displaying momentary reluctance to self-
128 E. M. HOEY
select. In this way, it marks a place where self-selection by Jeis possible. Additional
evidence for this analysis comes from the participantssubsequent behavior. As the
interaction continues, the silence lengthens (line 11), indicating an impasse regarding
who should speak. Finally, Jill produces a self-repeat, maybe the beginning.Self-
repeats in environments of possible sequence closure allow a speaker to show their
prior turn as adequate and in no need of revision (Hoey, 2017). This retroactively
locates her snias possibly sequence-nala position that provides for self-selection
by anyone. This analysis is further conrmed by Jesself-selectioninoverlapwith
Jills self-repeat (line 13); the near simultaneous start reveals his understanding of her
snias opening the oor to him.
Another environment where turn-taking matters are a going concern is the begin-
ning and ending of storytellings (Sacks, 1989). Participants entering a storytelling
activity have as their practical task the suspension of turn-by-turn talk and conversely
at the end of a story the resumption of turn-by-turn talk. The next extract shows
asniplaced after the recognizable launch of a story (line 9). This sniis potentially
oriented to the coordinationofturntransferinthatitmarkstheopportunityfor
something from Geri, the story recipient.
(11) GeriShirley_0910
06 SHI: YihKNOW Gabbi, (.) Warren Miller's ex girlfrie[nd,]
07 GER: [Yee]ah.
08 GER: [°°M-hm?°°]
09 SHI: [.hhhhhhhh] Okay. Gabbi came in las'night. >.nHh<
10 (0.4)
11 SHI: .t
12 (0.6)
13 SHI: .p Whenever she comes in she always wants me t'do
14 something fer her,
15 GER: M-hm,
Ordinarily, after the recognizable launch of a story, the story recipient may explicitly
align with the structural asymmetry that a story projectsfor example, through
atokenlikemhm (Stivers, 2008). Here, however, Geri does not do so after line 9,
and instead a silence grows (lines 1012). This silence shows Shirley as not imme-
diately continuing with her story, which may orient to the absence of alignment from
Geri. This supports an analysis of sning as turn yielding in that the sniaudibly
marks the opportunity for alignment, and the growing silence marks its absence.
Speakers may also sniin the closing of a story. In Extract 12, the teller snisasshe
progressively distances herself from her story after less-than-enthusiastic uptake from
her story recipient. Emma reports an exciting recent event: Her son Larry met and
accompanied some visiting marines, which Emma found wo:nderfl(line 6). Emmas
story receives subdued reception, however, occasioning pursuits of more favorable
uptake from Lottie and then nally story exit.
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 129
(12) NB:IV:12_0056b
01 EMM: Theh gon' take'm down th'beach now 'n wa:lk'm down the
02 beach<ih [wz so: cute'n one of'm's BLA:ghCK hn
03 LOT: Oh::: ¬goo:d.°
04 (.)
05 LOT: uAt's u [We:-
06 EMM: [That's wo:nderf'l is[n'it?=
07 LOT: [I-
08 LOT: =[I wz js tell'n [Ea:rl we ha::d a: f[ew up there=
09 EMM: =[.snh [hhhhahhh [.snhh
10 LOT: =la:st night the rs'time we've ever had um.
11 EMM: .hhhhh (.) Well they looked so cute'n their uniforms
12 they wen'i[::n en they took off ther coa:ts now=
13 LOT: [Mmm::,
14 EMM: ='n ther ¬waghlkin down the street yihkn[ow isn'that uh=
15 LOT: [Ye::h?
16 EMM: =rils well I oughta(d) (.) ¬done that t'da:y¬
17 LOT: °Ye[:a::h. That's ni::[ce.°
18 EMM: [°¬Well,° [Ya:h,
19 LOT: °Ye:a:[h.°
20 EMM: [W'l LARRY'S a good bo:y, >.nh<
21 LOT: =Ye:ah.
22 EMM: En then weg-<we ev'n tagh:lked to the ma:n across
23 s'street 'e came over talk tih Bud a lo:ng ti:me he
24 siz he goes intuh Wilshire Boulevard erry day. >.nh<
25 LOT: Uh huh?
26 EMM: .t Well ah'll tahlk tihyuh ¬later dear.¬
The highlight of Emmas story is met with subdued approval ºOh::: ¬goo:d.º(line 3)
and occasions a small reciprocal telling from Lottie (lines 8, 10). Lotties reciprocal telling
apparently displays insucient appreciation of Emmas story, as Emma reissues its main
point: how cutethe scene was (lines 1112, 14, 16). Again, however, Lottie gives only
a muted Ye:a::h. Thats ni::ce(line 17). In light less-than-enthusiastic uptake, Emma
distances herself from her telling. She projects a departure with turn-initial well
(Heritage, 2015) then hearably proposes closure of the storytelling activity with Wl
LARRYS a good bo:y(line 20). This proposes closure by repeating Larry,an element
from the start of the story (not shown; Scheglo, 2011), and by oering a summary
assessment of him (Scheglo, 2007). Having made this move away from the telling, Emma
snis, treating her turn and telling as complete.
In this environment, Lottie may relevantly align with Emmas movement to closure, for
instance by agreeing with her summary assessment. However, Lottie maintains
a disengaged stance with a plain Ye:ahacknowledgment (line 21). Given Lotties
minimal engagement, Emma pivots to something new. She reports other events of
130 E. M. HOEY
that day and caps othat topic shift with a sni(lines 2224). Her postcompletion sni
audibly marks turn completion and furnishes a space for Lottie to do something with
those new topical materials. But Lottie responds with an uh huh?elicitor, treating
Emmas action as the start of an informing rather than an opportunity to engage in
topic talk. Finally, Emma orients to Lotties apparent disinterest by moving to end the call
(line 26).
Facing weak engagement, storytellers can pursue more substantial or favorable uptake.
In this case, Emmas postcompletion snis orient to Lotties weak engagement by marking
turn completion, which provides for responsive action by Lottie. Also register how after
each sni, Emma moves onto another matterfrom closure of the telling, to topic shift, to
ending the call. These movements to other matters display Emmas understanding of her
snis as prefacing shifts in interactional trajectory.
In a similar use of turn-yielding snis, participants can indicate that they will not
pursue some matter any longer. In the following phone call, Leslie tells her mother that
the biscuits she got cost around one pou::nd ten peeand asks is that alright.
(13) Holt:X:1:2:7
02 LES: Ive got them: o[ne pou:]:nd ten pee or something=
03 MUM: [Oh good.]
04 LES: =is that alright,
05 (0.9)
06 MUM: Pardn luv?
07 LES: ABOUT ONE POUND TEN pence [is that alr-
08 MUM: [Ohthatsoka:y yes
09 LES: Yes.
10 (0.6)
11 LES: THAT wz ABOUT the cheapest you could ge:t.
12 (.)
13 MUM: Oh my goodness.
14 (0.5)
15 MUM: Oh you shouldn- I: didnt mind about cheapness
16 but I wanted.hh a pound in weight.
17 LES: YES WELL THEYRE not QUITE A POUND in weigh[t.
18 MUM: [Oh well
19 (.) never mind.
20 (0.2)
21 MUM: ((sniff))
22 (0.2)
23 LES: Yes.
24 (.)
25 LES: But I thought that wz.hhh a lotv money but (.)
26 that wz the cheapest we could get at the International
27 MUM: Oh well that didnmatter
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 131
Leslies purchase turns out to have been not what her mother wanted. She opted for the
cheapest you could ge:t(line 11) whereas her mother didnt mind about cheapnessand
instead would have preferred a pound in weight(line 16). Mum accepts this news with
adisappointment nalizer”—“Oh well”—then begins to move past the matter with never
mind(lines 1819; Couper-Kuhlen, 2009). There is then a small gap, indicating the comple-
tion of Mums turn and embodying her decision against continuing with the matter. These
prepare a place for Mumssni(line 21), which is hearable as dropping the matteror letting
it go.
Comparison with postcompletion inbreaths
What should be clear from the preceding analyses is that sning after possible turn
completion across a variety of sequential environments recurrently indicates nonconti-
nuation. We can consolidate our understanding of these snis by comparing them to
inbreaths in the same sequential environment. Like snis, inbreaths recur in the transition
space, as in the following.
(14) Debbie and Shelley
01 SHE: it w's like awright :ne, I'll let you: (·) buy my-
02 my plane ticket, thats not a problem, [.hh a]n: now=
03 DEB: [uhuh,]
(15) NBIV10R
01 LOT: How is she doi[n.
02 EMM: [Ohgh: fi::ne she heard f'm Bill: he
03 arri:ve'sa:fely:'nd (.) a:[nd uh]
04 LOT: [°Uh huh]
05 (.)
06 EMM: He's doin :ne, .hhu:hh Gee: uh-m-did Ear:l getta turkey
(16) Watergate_ekalm
01 KAL: y:ou: en Bo:b en the Presidint jistoo good (0.3) too good
02 frie:nds[.hhh.[tih ever put me in the pihzishn where
03 EHR: [(°Mh-[hm°)
In these examples, the postcompletion inbreath is immediately followed by same speaker
turn continuation. This contrasts with the previous postcompletion snis, where the same
speaker continued only contingently after providing space for turn transfer to occur
(Extracts 1011). This suggests that inbreaths and snis are distinct practices, not simply
alternate ways to breathe after speaking. Whereas postcompletion inbreaths forecast same
speaker turn continuation, postcompletion snis indicate turn completion.
Distributional evidence supports this generalization. Out of 29 cases of postcompletion
snis, 93% (n= 27) were followed by silence or turn exchange, and only 7% (n=2)
132 E. M. HOEY
followed by immediate turn continuation (i.e., a micropause or less separating postcom-
pletion sniand turn continuation).
7
This is consistent with the previous analysis and strongly suggests that postcompletion
sning marks turn completion and turn yielding. An alternative explanation is that snis
only disfavor turn continuation rather than mark turn completion/yielding, given that
snis are typically done with the mouth closed, which disfavors immediate turn continua-
tion. However, further inspection of the 27 postcompletion snis suggests this is not the
case. If speakerspostcompletion sning acts as a turn-yielding cue, then we would expect
another participant to speak after the sni. And indeed, this is what the data show: After
a postcompletion sni, there are 20/27 cases of turn transfer, 6/27 cases of silence followed
by same speaker continuation (e.g., Extracts 1011), and 1/27 case of ambiguous turn
transfer.
We may also look to postcompletion inbreaths for evidence. Using seven of the same
recordings used to build the collection of snis,
8
I located the rst 10 postcompletion
inbreaths, collecting a total of 70 cases. Of these, 77% (n= 54) were followed by immediate
turn continuation, which is consistent with the analysis that postcompletion inbreaths project
same-speaker talk. Moreover, I can account for 12/16 of the cases deviating from this pattern.
Five are explained by the inbreaths placement after laughter, as in the following.
(17) Virginia
01 PRU: That was what I got. (m)yeah. nih-hih-huh-huh-huh .hhh
02 (0.2)
7
One of the two deviant cases follows, taken from the opening of a call from Dana to her boyfriend
Gordon, who had called late the previous night, drunk, angering her mother.
HOLT:U&88-1-4:1
01 GOR: How are you.
02 (0.5)
03 DAN: I[m okay
04 GOR: [.tplk
05 (.)
06 GOR: .pk Good,
07 (0.5)
08 DAN: Actually I'm no[t but (.) the(h)re we go:,=
09 GOR: [.hhh
10 GOR: =.hhhhehhhhe:hh .hh But (.) yih (.) you are but you're
11 not. .hh[h=>.nhh< Hey listen I'm sorry about last ni:gh,
12 DAN: [(Right)
13 DAN: [Mm:,
14 GOR: [.km.tch I didn't think your mum would go (0.5) .pt.k
15 over the top,
Dana is hearably irked; her response to How are youis a downgraded okay(Jeerson, 1980), which
gets revised into Actually Im not.Gordon treats her response as laughable (see Sacks, 1992), then in
the transition space of his turn he takes an inbreath-turned-sni. He immediately continues speaking
to produce an apology. I account for this deviant case by reference to the structure of call openings
(Scheglo, 1986). Ordinarily, after the how-are-you phase the caller (Dana) produces a reason-for-the-
call. Given this normative structure, for Gordon to apologize as soon as possible, he would need to
wrest from Dana that structurally provided opportunity. He does this with a postcompletion sni
followed by a misplacement marker Hey listen(Scheglo& Sacks, 1973).
8
Debbie and Shelley, HOLT M88.15, NB:IV:10:R, NB:IV:13:R, SBC28, Virginia, and Watergate419ekalm.
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 133
03 PR?: In high school?
Because laughter does not conform to the one-at-a-time feature of conversation and
because laughter is a respiration-heavy activity that may require an intake of breath,
these cases do not properly deviate from the pattern shown by other postcompletion
inbreaths.
Seven other deviant cases are accounted by their occurrence in overlap. In the follow-
ing, Debbie concludes her turn with an inbreath and then does not continue speaking.
(18) Debbie and Shelley
01 DEB: ya shoudn't be defensive I mean theres been pa:rtie:s
02 like here comere here do this or whatever:an [.hhh
03 SHE: [you were
04 at the halloween thing.
05 DEB: huh?
This is related to Shelleys entering to speak in overlap with Debbies inbreath. Speakers
are normatively allotted a single TCU, and next speakers are entitled to self-select at the
rst possible completion of that TCU (Sacks et al., 1974). The contingent occurrence of
turn transfer in overlap with Debbies inbreath accounts for this and other cases where
a postcompletion inbreath is not followed by turn continuation.
This subsection shows that postcompletion snis regularly display that participant as
no longer speakingand indicate both turn completion and the possibility/relevance of
turn transfer. A comparison of postcompletion snis and postcompletion inbreaths
revealed, through distributional evidence and deviant case analysis, that sning and
inbreaths are not alternate methods for breathing but distinct turn-taking practices in
this environment.
Discussion
This article constitutes sning as an orderly objecta social fact as well as a respiratory
act. It shows sning as intimately bound up with the production of talk by analyzing its
occurrence in various structural positions in talk-in-interaction. Sning was shown to be
a turn constructional device for delaying talk. The placement of a sniprior to the
beginning of a turn may precede a dispreferred response (Extracts 12). And when placed
in the course of a turn-at-talk, sning implements a delay that can contribute to doing
hesitationor delicacy(Extracts 34) or searching for a word(Extracts 57). This
conrms prior observations about the association between sning, dispreference, and
diculties in formulation. It also suggests that sning forms a natural class of delay
devices along with objects like uh(m) and throat clearings.
It was also shown that possible turn-completion snis systematically mark turn com-
pletion and turn yielding. This was observed in various sequential environments: after
initiating actions (Extracts 89), at possible sequence completion (Extract 10), at the
beginning (Extract 11) and ending of tellings (Extract 12), and in environments marked
134 E. M. HOEY
by disappointment (Extract 13). The association between postcompletion snis and turn
yielding was further supported through a comparison with postcompletion inbreaths. In
a turns postcompletion environment, sning recurrently indicates turn completion,
whereas an inbreath recurrently indicates turn continuation. Snis and inbreaths, then,
are not alternate modes of inspiration but distinct interactional practices.
These ndings suggest that sning is an orderly alternative to speakingorderly in
that it is understood by reference to the organizations of turn construction and turn
taking. Based on its placement in the course of action underway, a snican be heard as
a display of not currently speaking, just nished speaking, not going to continue, or not
speaking right away. Speakers who sniamidst active projections could be seen as not yet
producing that projected material. And given a particular sequential context, this can
invite interpretations of the snias a display of delicacy, unsureness, inability, etc. Sning
thus may enter the directionaltrack of interaction (Goman, 1974); though not focal
itself, it is monitored because it organizes what participants attend to.
9
The usage of sning as an organizational resource for interaction may emerge from the
aordances of the act and how it is conventionally understood. Its characteristic closed-lip
formation and the impossibility of concurrent vocalization provide physiological ground-
ing for the association between sning and nonspeakership. An equally important basic
feature is that sning directly suggests the need to clear the nasal passage. Participants
normally accord to others a legitimate right to such creature releases(Goman, 1963)
and thereby treat sning as an evergreen engagement. This permissibility may relate to
the omnirelevance of presenting oneself as competent (Goman, 1959): Sning is always
permitted because it is always relevant to show yourself as in control of your body, its
functions, and especially its euvia. The swiftness of a snimay also be pertinent. As the
self-same denotation and resolution of a bodily need, sning is near instantaneous and so
minimally intrusive. Sning is thus a ready-maderesource (Lerner & Raymond, 2017)
for organizing participation. This extends to nonfocused interactions too, where it may
display civil inattention(Goman, 1963). Sning audibly broadcasts ones presence,
acknowledges co-present other(s), and discreetly advertises no intention to engagefor
example, the sniheard from a stall in a public restroom when someone else enters.
Indeed, the audibility of sning predisposes it to such situations: It is not only perceptible
in the absence of visual access but perceptible precisely in/for situations where sustained
mutual gaze is avoided.
Funding
This work was supported by a Rubicon grant from the Netherlands Organisation for Scientic
Research [#44617010].
9
Not to suggest that sning is always disattended . Sning can be a meaningful act itself. For example,
a sniaccompanied by widened eyes and raised brows can display surprise. Or if at a night club one
asks, Why did they go to the bathroom?,a sniin response can answer to do cocaine.
RESEARCH ON LANGUAGE AND SOCIAL INTERACTION 135
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... Despite being traditionally understood as existing "on the margins of language" (Keevallik & Ogden 2020), CA/IL research has highlighted that non-lexical conduct (just like embodied conduct) furnishes interactants with important resources for collaborative sense-making that must be taken into proper account. For instance, practices such as sighs and sniffs (Hoey 2014(Hoey , 2020, clicks (Ogden 2020), laughter and laughter particles (Ford & Fox 2010;Holt 2016;Jefferson 1984a), and even swallowing (Ogden 2021), have been shown to impact turn-taking through the projection of (no) more talk, particularly when deployed in turn-final and postexpansion turn positions (see Schegloff 1996). 2 Another example includes verbally incomplete utterances, which allow speakers to convey assessments or complaints using embodied resources, strategically managing delicate social actions without fully verbalizing them (Skogmyr Marian 2021). It bears mention that interactions surrounding the details of music and rehearsals have offered key settings for the exploration of nonlexical turn completions, as participants collaboratively and emergently negotiate a particular interpretation of the score being performed (e.g., Tolins 2013; Weeks 1996Weeks , 2002; see also Emerson et al. 2017;Löfgren & 2. This is of course in addition to foundational work on the phonetics of turn projection and turn finality, such as use of non-modal voice quality in Finnish (Ogden 2004) (see Local & Walker 2012). ...
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... From a turn-taking perspective, we cannot assume a priori that any such sound is immaterial, so a means of identifying speech sounds for large corpora of audio data would be desirable. Various non-verbal vocalizations (NVVs), such as laughing, sniffing, or coughing, will affect the turn-taking process in their own way [4], [5], [6]. Even breathing can be used as an interactional tool. ...
... The accomplishment of social action is intimately tied to people's ability to behave in a comprehensible manner and to competently interpret these very behaviors in entirety, not merely separating out a single stream of information, such as contained in the vocal tract sound. If someone sni↵s and gazes away, it may make evident that the person will not speak at this point in conversation [24]. When a glass is simultaneously lifted to the sni↵er's nose, they may be publicly demonstrating access to a source of a smell, such as in beer tasting sessions [44]. ...
... Mondada's studies exhibit in other words how customers use their bodies as instruments for assessing and evaluating the quality of sales products. Her studies supplement EMCA studies in showing, for example, how normatively controlled human sound such as coughing, yawning, and sniffing may be interactionally exploited (see Broth, 2011;Hoey, 2020), and how sensorial experiences may be objectivized (Liberman, 2013). ...
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