We appreciate your interest in purchasing oral interp scripts from SpeechGeek Market! We know that state and national forensic organizations have different requirements for literature used in competition. In order to make your search for qualified scripts easier, we've compiled the following information.

VENDORS

There are four different publishers in SpeechGeek Market: SpeechGeek, Mushroom Cloud Press, Tibetan Treefrog Publishing, and the forthcoming (extra)ordinary, (un)usual series from author Pete Malicki.

ORDERING

Most scripts available in SpeechGeek Market are available in digital and print copies. The base price listed is a digital PDF copy of the script. Once you complete your online order, you will receive an e-mail confirmation from the store and a notification e-mail from FetchApp. The notification e-mail will contain a link that will take you to the page where you can download your file. The link will be active for two months or fifteen downloads, but we will be happy to reactivate your link should you need to re-download your purchase.

For a small fee, you can choose the "Digital + Print" option when ordering. Simply click the drop down menu to select this option.

Your print copy will ship within 48-72 hours of your order confirmation. At this time, there is no "Print Only" option for the scripts in our store.

DIGITAL SCRIPTS

Digital scripts from SpeechGeek and Mushroom Cloud Press are approved for competition by the National Speech and Debate Association. Your digital download will come with a username and password to access the digital copies. Please do not distribute this information to other people or programs, as it is intended for qualification verification purposes. If you should lose the information, just contact SpeechGeek Market with your order number.

DISTRIBUTION

When you purchase scripts from SpeechGeek Market, you're able to download the files to your computer and print copies as needed. Please do not post copies of the script on publicly accessible websites or servers. We have found that while some schools may have such servers available to staff and students, a quick internet search allows people free access to materials they haven't purchased. Preventing unauthorized distribution of scripts allows publishers to continue to create new content for folks to enjoy! have any questions, feel free to contact us.

ISBNs

Have no fear! The publication sold within the SpeechGeek Market contain ISBNs! Check the list below for the issue you may need.

MUSHROOM CLOUD PRESS

Clyde Hendrickson Vol. 1
ISBN 978-0-9844878-1-3

Clyde Hendrickson Vol. 2
ISBN 978-0-9844878-2-0

Drama Vol. 1
ISBN 978-0-9844878-6-8

Drama Vol. 2
ISBN 978-0-9844878-7-5

Humor Vol. 1
ISBN 978-0-9844878-3-7

Humor Vol. 2
ISBN 978-0-9844878-4-4

Humor Vol. 3
ISBN 978-0-9844878-5-1

Humor Vol. 4
ISBN 978-0-9844878-8-2

SPEECHGEEK

SpeechGeek Season One: Fall 2003

978-1-61387-000-6

SpeechGeek Season Two: Winter 2005

978-1-61387-002-0

SpeechGeek Season Three: Fall 2005

978-1-61387-004-4

SpeechGeek Season Three: Winter 2006

978-1-61387-005-1

SpeechGeek Season Three: Spring 2006

978-1-61387-006-8

SpeechGeek Season Four: Fall 2006

978-1-61387-008-2

SpeechGeek Season Four: Winter 2007

978-1-61387-009-9

SpeechGeek Season Four: Spring 2007

978-1-61387-010-5

SpeechGeek Season Four: Nationals 2007

978-1-61387-011-2

SpeechGeek Season Five: Fall 2007

978-1-61387-012-9

SpeechGeek Season Five: Winter 2008

978-1-61387-013-6

SpeechGeek Season Five: Spring 2008

978-1-61387-014-3

SpeechGeek Season Five: Nationals 2008

978-1-61387-015-0

SpeechGeek Season Five: Anniversary

978-1-61387-016-7

SpeechGeek Season Six: Fall 2008

978-1-61387-017-4

SpeechGeek Season Six: Winter 2009

978-1-61387-018-1

SpeechGeek Season Six: Spring 2009

978-1-61387-019-8

SpeechGeek Season Six: Nationals 2009

978-1-61387-020-4

SpeechGeek Season Seven: Fall 2009

978-1-61387-021-1

SpeechGeek Season Seven: Winter 2010

978-1-61387-022-8

SpeechGeek Season Seven: Spring 2010

978-1-61387-023-5

SpeechGeek Season Seven: Nationals 2010

978-1-61387-024-2

SpeechGeek Season Eight: Fall 2010

978-1-61387-025-9

SpeechGeek Season Eight: Winter 2011

978-1-61387-026-6

SpeechGeek Season Nine: Fall 2011

978-1-61387-027-3

SpeechGeek Season Nine: Winter 2012

978-1-61387-028-0

SpeechGeek Season Ten: Fall 2012

978-1-61387-038-9

SpeechGeek Season Ten: Winter 2013

978-1-61387-039-6

SpeechGeek Season Ten: Anniversary

978-1-61387-042-6

SpeechGeek Presents: Female/Female Duos, Vol. 1

978-1-61387-029-7

SpeechGeek Presents: Female/Female Duos, Vol. 2

978-1-61387-032-7

SpeechGeek Presents: Female/Female Duos, Vol. 3

978-1-61387-033-4

SpeechGeek Presents: Female/Female Duos, Vol. 4

ISBN: 978-1-61387-047-1

SpeechGeek Presents: H.I.-larious, Vol. 1

ISBN: 978-1-61387-043-3

SpeechGeek Presents: H.I.-larious, Vol. 2

ISBN: 978-1-61387-044-0

TIBETAN TREEFROG PUBLISHING

Book One
ISBN: 978-1-61387-049-5

Book Two
ISBN: 978-1-61387-050-1

Book Three
ISBN: 978-1-61387-052-5

Book Four
ISBN: 978-1-61387-051-8

Book Five
ISBN: 978-1-61387-053-2

Book Six
ISBN: 978-1-61387-054-9

Book Seven
ISBN: 978-1-61387-055-6

Book Eight
ISBN: 978-1-61387-056-3

Book Nine
ISBN: 978-1-61387-057-0

Book Ten
ISBN: 978-1-61387-058-7

Book Eleven
ISBN: 978-1-61387-059-4

Just kidding. Working with a black book looks scarier than it really is.

Have you ever watched a sitcom where there's a class assignment that requires two OBVIOUSLY incompatible people to take joint responsibility in caring for an inanimate object like it was a baby? They're all like, "Whaaat? This is ridiculous. I don't want to carry around this sack of flour!" But they misplace the bag of flour and then they're all like, "Oh noes! I totes need that to do well!" Then they kinda, sorta, accidentally enjoy taking care of the bag of flour. It becomes their "bay-bay" not in the literal sense, but in a "I have a newly found respect for what this inanimate object comes to represent."

This is what the black book is for college interpers. Instead of a flour sack, you find yourself tasked with carrying around a black binder. At first you think, "This is ridiculous! I can barely move one of my arms! I need that arm to reach all of my #feeeelings!" But you pretty much have to carry it around because the manuscript is required in college interp and the binder (although a norm and not technically a rule) is pretty much expected.

One day you go to a coaching session, but you forget your binder in your room and you start to try to run through your performance but...but...you can't. Someone tries to hand you a different binder, but it just feels wrong. Then you realize that like it or not...you've grown attached that three ring lump of vinyl and cardboard. It's yo "bay-bay."

To compare college and high school interp as "similar but different" is vague, frustrating, and kind of accurate. Yes, there are characters, intros, and #feeeelings, but the college circuit tends to reward more nuanced and subdued performances. Yes, you keep your script in your binder, but the regulations for publication verification aren't there. Yes, you speak for 8 to 10 minutes, but no one is giving you time signals or grace periods. Yes, H.I. does not exist as an event in college, but you'll be using humor in a variety of pieces. You'll have teasers and intros - and those introductions better sound like an ivy league English lit course squeezed into sixty seconds.

I feel like I'm selling the college interps short right now. There are some really awesome things you can do! The events are based on genre of literature, not the tone. You'll see Proses and D.I.s that are downright hilarious. Program events allow you to create innovative performances by splicing different pieces together. Topics, subject matter, and language are more mature and varied than what you would typically find in the high school circuit. There is more freedom to experiment - as long as you're able to explain the reasons behind your experimentation. Plus, the movies, television shows, spoken word poetry, and online literature that may not have an ISBN number is fair game in collegiate competition.

When you add all of this together you find that college interp performances are thought-provoking, emotionally driven, and quite often life-changing performances. With this new world of literature, splicing, and argumentation - you're able to learn more about yourself and the world around you. It is one of the rare opportunities available to combine rhetoric, passion, performance, and competition.

Below you'll find a list of the interp events you'll see most often at college tournaments. Some areas may offer specialized events, experimental events, or improvisational events. For the sake of simplicity, this article will focus on discussing the descriptions, rules, and norms of the interp events as they appear at the American Forensic Association National Individual Events Tournament and the National Forensic Association National Tournament.

AFA = American Forensic Association, NFA = National Forensic Association, IFA = International Forensic Tournament, PRP = Phi Rho Pi, DSR = Delta Sigma Rho, PKD = Pi Kappa Delta. To learn more about each organization, click 'National Tournament and Organization' and scroll down to view the links.

These are very basic overviews of the various interp events. Consider it a very quick introduction. In future posts, we'll explore each event in more depth.

For many high school competitors, college interp may appear to lack the appearance of fun to which they are generally accustomed. Carrying around a binder and attending a tournament where H.I. doesn't exist sounds like...well...I don't know what it sounds like but I've seen people scrunch their faces like they just drank bad milk. You're going to have to trust me when I say that college interp is FAR FROM BAD MILK. Once you realize that the packaging is just a little different, you open up a carton of college interp and you're like, 'Woah! This tastes like chocolate/strawberry/vanilla/soy/almond awesomeness!"

Everything you enjoy about interp - making people laugh, performing for a crowd, doing something different, making audiences think and feel something - is all there in college interp. Getting familiar with the different events is the first step to finding your niche on the collegiate circuit. Just remember to keep your black book handy, it's your new bestie that will be with you in all of your rounds.

The Ball State University Forensic Team at AFA-NIET 2014 (@bsuspeech)

Chances are, if you follow SpeechGeek on Twitter or Facebook, you may have noticed a lot action surrounding the 2014 AFA-NIET earlier this month. If you don't follow SpeechGeek (on Twitter or Facebook or on Pinterest or Tumblr), take a moment to stop reading this blog post and add us now. It's cool, we'll wait.

Some of our more recent followers may have thought, "Where are my memes, SpeechGeek? I'm here for the LOLZ." Some follow SpeechGeek only for the annual coverage of these tournaments. Others shrug and think, "Eh, it doesn't really matter to me."

Don't get us wrong: we get giddy when folks enjoy and share our more humorous posts. But the geeks here feel like we need to make a contribution to the activity beyond pictures of bears wearing bow ties with the caption "#CrossExProbs." We love being silly - but we love forensics a bit more.

That's why hearing people say, "Huh? They have speech in college?" seems like a tiny imaginary foot is stomping on our hearts. YES! Not only is there speech and debate in college, but it is totally awesome!

Sometimes folks who are competing in high school may get told from coaches or alumni that college forensics "isn't for them." Maybe the coach or alum competed in college forensics for a while and really didn't like it. That's okay. The style of performances and speeches that shine in high school may struggle to be rewarded on the college circuit. Maybe they didn't like all of the travel. Maybe there was too much travel for them to balance speech, school, having a job, and experiencing the fifty billion other activities available on a college campus.

But here's the great thing about college: you get the chance to become a different person and try different things. Maybe you're happy to finish your four years in high school. Hey - you do you. You might, however, want another four years of speech before giving it up for good. (Or at least until being a professional interper is an option.) There are people who never clicked in high school who go on to achieve awesome success in college. There are people who have success in both high school AND college. You don't know unless you try.

The University of Alabama Forensic Team at AFA-NIET 2014 (@BamaForensics)

The things that make high school speech so amazing are still there on the collegiate circuit. It is an important and enriching activity that makes you a stand out candidate for graduate schools or jobs later on. Despite what you may think, your critical thinking and argumentation skills have only just scratched the surface. College forensics opens you up to new concepts, ideas, arguments, and literature. You're not only exploring new ways of thinking, but you're discovering more about yourself in the process. You'll get the opportunity to travel out of state -- and in some cases -- out of the country. Some collegiate teams offer full or partial scholarships in an effort to recruit students to their teams. (If you see someone at the National Speech and Debate Association National Tournament with laser focus and a fistful of business cards, it's probably a college coach.) Perhaps the most valuable aspect of college forensics is finding a network of people with a shared interest in what may be a big (and lonely) new campus.

For five years now, SpeechGeek has covered the American Forensic Association National Individual Events Tournament and the National Forensic Association National Tournament. Initially, we covered the tournaments because we were already in attendance as coaches. But even as we transitioned to working on SpeechGeek full-time, we continued to share the information and results.

We continue to do this to not only serve the friends, family, and alumni of college competitors - but to serve you as well. The college competitors are often alumni of your schools or people whom you competed against in the past. The alums of high school competition are often among the most enthusiastic volunteers, judges, and camp counselors. They frequently return after their semester wraps up to help their alma maters prepare for competition in July. Is there anything more inspiring as you prep for summer competition than watching others feel the hype and joy of national tournaments in the spring?

As we prepare to pack up and head to the NFA National Tournament in Ypsilanti, Michigan, we'll be posting articles that give you insight to the different events available in collegiate forensics. If you have questions, suggestions, or contributions, you're always welcome to send them via e-mail to stephanie (at) speechgeek (dot) com.

To get you started, here's a list of links that will help introduce to the teams, organizations, and tournaments you'll find on the collegiate circuit:

Council of Forensic Organization's List of College Programs

American Forensic Association

National Forensic Association

Phi Rho Pi National Forensic Organization

Pi Kappa Delta National Honorary Society

Delta Sigma Rho - Tau Kappa Alpha

National Parliamentary Debate Association

National Debate Tournament

Cross-Examination Debate Association

American Debate Association

International Public Debate Association

Novice Nationals

American Parliamentary Debate Association

Follow us on your favorite social media outlets for live updates, posts, new additions to the store, and general forensics fun. (Oh, here's the bear in a bow tie we promised.)

Every social media site seemingly has its own personality. Wanna get to know other people? Creep around on Facebook. Need to share your random thoughts? Tweet it out on Twitter. Prefer to express yourself in pictures and GIFs? See you around Tumblr. 

While I've had a Pinterest account for over a year, I couldn't shake my initial impression of the site. Pinterest seemed perfect for people who wanted to swap recipes, crafts, and wedding ideas. There was cute stuff on there. But when you're already committing time to other social media outlets (and probably more time than you should), a site needs to be more than just cute to earn time and attention.

If you're not familiar with Pinterest - the premise is simple and the site is easy to navigate. Essentially, Pinterest is a bookmarking site. A "pin" is an image that is accompanied by a description and/or a link to an external web page. "Boards" allow you to collect and organize your pins. Users can browse pins that are posted in a variety of categories ranging from food, drink, crafts, and fashion to science, technology, history, and literature. If someone has posted a pin that you like, you can re-pin it onto one of your boards. If you're browsing the internet and come across a webpage you want to save, Pinterest makes it easy to simply paste the link and post it to one of your boards. Most boards are public - but you can have up to three "secret boards" that only you can view. The Yummy Life has a great tutorial on using Pinterest, and there are videos to walk you through the process as well (such as this one).

Click here to visit SpeechGeek Market on Pinterest.

After trying to find a way to pull together all of the random links, articles, and videos for forensics I had bookmarked on various computers, e-mailed to myself, or screen-grabbed on my phone - it dawned on me. "Why not just put them all on Pinterest?" The site became the perfect organizational tool and a way to share ideas while collecting a few hidden gems. Plus, the Pinterest app is widely available for free on Apple and Android  devices. Need more convincing? Here are ten ways you can utilize Pinterest to prepare for forensics (listed in no particular order):

1. Save articles  and topic ideas for public speaking events. The first two on our list make use of secret boards. Sure, you may be able to bookmark an article on your desktop into a folder or e-mail the link with a description to yourself. The benefit of creating a secret board for topics are two-fold. First, you can keep all your topics together in one central location. Second, you can use the description box to leave yourself notes such as how the article can be turned into a speech topic or what person might be interested in reading it. By using a secret board, you don't have to worry about anyone stumbling across your great ideas.

2. Create a reading list of potential interp pieces. Again, another great use of the secret board. Sometimes you'll stumble across a short story online, but you don't have time to look up the author, search to see if and where its published, only to need to bookmark the site (if it isn't on Amazon). Plus, if your school is responsible for making the purchases, you're often encouraged to lump everything together. The description box, again, can be used to make notes about potential performers/events. By creating a secret board for interp literature pins, you're able to collect a list of options to return to when you're ready to order materials.

3. Browse  quotations to use as exercises  for limited preparation speakers. When you log in to Pinterest, you can click the red icon in the upper left hand corner of the screen. You'll be provided with a list of categories from which to choose. Clicking "Quotes" will allow you to browse and re-pin from hundreds of quotations. Whether you're working on impromptu, extemp, or debate - using quotations to practice analysis, interpretation, and argumentation is always a useful exercise.

4. Bookmark infographics  and interesting information for  attention getting devices  or examples. You don't always have to have an immediate use for a pin. I love collecting bits of trivia, stories, and examples. You can browse the technology, geek, science, nature, and history categories to collect things that are "neat-to-know." They can be added to a limited prep speaker's repertoire of knowledge or used as attention getting devices or examples in a public speech.

5. Hold onto inspirational sayings for team pump-up talks.  Sometimes you need to say more than, "Speak pretty everybody!" You'll find plenty of inspirational and motivational quotations on Pinterest to save for those days when warm-ups aren't doing the trick.

6. Manage a playlist of videos for performance tips and ideas.  Have you ever watched a video and thought, "That character is hilarious! They would be great in an H.I." or "I'd love to incorporate some of this movement into a Duo!" Videos can be great inspiration for performances. Use clips of celebrity impersonators to discuss vocal distinction. Cartoons are a great way to introduce basic, broad characters to new performers. Is there a cinematic clip that can inspire a dramatic performer? It's easier to hop over to a board of videos to reference than it is to try to search for the video you want (or worse, try to describe what you watched a few weeks ago).

7. Illustrate a variety of style options for tournament appropriate  attire. Research indicates that anywhere from 70 - 90% of communication is non-verbal. That means that to some degree, a competitor's appearance is communication a lot about that person before they begin their event. Most forensics tournaments encourage looking tidy and professional, but this doesn't mean competitors must spend a great deal of money to "look the part." A tournament attire board can illustrate a broad range of what is considered tournament appropriate attire. Pins on pairing shirts and ties, versatile and comfortable shoes, suits, hem lengths, and accessories can inform a student on what to look for or provide guidance in creating a professional appearance with the clothes they already own.

8. Hair, make-up, and grooming tutorials  can be useful. As previously mentioned, forensics isn't a beauty pageant but our appearances send non-verbal communication. A competitor's hairstyle or make-up doesn't have to be elaborate to be polished and professional. Still, discussing personal appearances remains a sensitive subject. A Pinterest board of "tournament ready" looks for hair, make-up, and facial hair can be an effective supplement to general discussions of what a coach or team considers competition appropriate appearances. Individuals can browse the pins for inspiration, ideas, and tutorials to achieve a look that is within their comfort zone without feeling singled out or embarrassed.

9. Collect remedies for tournament troubles. Speakers lose their voices, pop buttons, rip panty hose and face all sorts of other tribulations at tournaments. If you're lucky, you have back-up supplies in your bag. If not, it always helps to have tips saved from the DIY and health & fitness boards to help you out.

10. Add flair to tournament hosting  with recipes and decorating tips. Let's not forget the hallmark of Pinterest: recipes and decorating. Coaches have their hands full when it comes to running a tournament. Tournament hosting, however, can be an awesome exercise in team work and hospitality. Pinterest is great at providing ideas that utilize items you already own. Browse party planning and decorating boards for tournament theme ideas. Students can be assigned tasks from making signs to centerpieces, or even simple recipes to put in the lounge. There are plenty of opportunities for students to help host an awesome tournament while coaches are busy with entries, schematics, and running tab.

There's no limit to the number of ways you can utilize Pinterest in your forensics preparation. You can keep some boards secret but you can also share pins with other competitors and coaches. Make sure to follow our boards on Pinterest for inspiration, ideas, items from the store, links to articles about forensics, and anything else we think would be of interest to fellow speech geeks!

In case you missed it, the National Forensic League recently hosted its first online Spoken-Word Poetry Competition. The four winners, Emma Bleker (TX), Jason Fotso (MN), Annika Hansteen Izora (OR), and Erin Phillips (MA) will perform their original poetry as the opening act for Daniel Beaty at the awards ceremony for the 2013 National Tournament. Chosen out of the over eighty submissions, the winners represent just a few of the growing crossover between forensics and slam poetry.

Slam poetry, also known as spoken-word poetry, has had a tremendous impact on forensics. Though the average interper may need to brush up her or his Shakespeare, chances are there is at least one person at any given tournament that can recite at least part of Taylor Mali's "What Teachers Make." As more poets make their literature and performances accessible online, more competitors are finding pieces and voices that speak to their own experience. Moreover, slam poetry offers students who love poetry, performance, and competition an outlet once their forensics eligibility has ended. 

We're chatting with one such alum, Adam "Henzbo" Henze, about his experience in forensics, his new book of slam poetry, and an awesome opportunity for aspiring performance poets to hone their skills.

Tell us a little bit about yourself.

Right now I live in Indianapolis, where I teach on both the high school and college level.  I grew up in Evansville, IN, where I attended F.J. Reitz High.  One day my freshman year I stumbled into the speech office, and my life changed forever.  I went to Western Kentucky University on a speech scholarship, where I was part of their first national championship team in 2003.  After speech I traveled around for a little while, before moving to Indianapolis to pursue a Masters in Education and coach speech at the University of Indianapolis.

What were your favorite events in high school?

I loved all the interp categories in high school: poetry, duo, prose.  But because our school was an NFL school, I mostly focused on dramatic interpretation.  I competed at NFL Nationals 3 times, and in 2001 I was fortunate to place 3rd in D.I. performing a piece called "Jason." It was one of my favorite pieces, because I related to it so much.  The play is about a man with special needs who is applying to live in a cooperative housing unit.  I empathized with the character because my family has a history of advocacy for the differently abled community: my uncle was autistic, and my grandmother was one of the founding members of The Association for Retarded Citizens (ARC).  I enjoyed stepping into the shoes of a character who experiences challenges that are different than what I often go through in my own life.  I guess the script has gotten pretty popular, but when I did it the play was unheard of in the forensics community.

How did you first get involved in spoken word poetry?

I got into spoken word poetry because I really enjoyed the slam artists I explored in my poetry programs.  When my 4 years of eligibility were up in college, I really wanted to keep performing in some capacity.  Slam provided me with a similar catharsis that speech did, and I was surprised to find that other former speechies were popping up in the slam scene as well.  It was a great feeling when I realized there was not an expiration date on my ability to perform and create.

How is competing at poetry slams similar to and different from competing at forensics tournaments?

Slam is really similar to speech: your performance is judged by members of the audience, there are outrounds and breaks for individuals who score high, there are the same networking opportunities and chances to travel, you compete against other communicators from all over the country.  I'd say one of the main differences is in slam you perform your own work.  Also, while in speech we often seek out experienced judges, in slam we really like using judges who are everyday individuals--who've never seen a slam before.  Finally, the biggest change for me: in speech you perform for like 12 hours a day over the course of a weekend.  Slam you really only perform a couple minutes each night.  It was like going from a marathon to a sprint.  You have 3 minutes, and you have to put your all into them.

Where do you find inspiration for your poetry?

I get inspired to write poetry when I feel powerless.  Maybe my boss was picking on me and I had to bite my tongue, or maybe I witnessed someone being treated unfairly and felt helpless to act.  Writing empowers me to use my voice in a different way, and often I feel more capable after putting my emotions into words.

What are some of the central themes/messages in your book, Written In the Dish Pit?

I think speech kids will really like my new book of poetry because of the recurring themes.  It's called 'Written in the Dish Pit,' and is comprised of my first 10 years of work.  I wrote a lot of poems about waiting tables in my 20's, I have a lot of poems about my family and my personal relationships, and a lot of the book is about my travels on the road.  There are definitely a few cuttings in there for speechies looking for new lit.  I've seen my poetry pop up on the forensics circuit a few times, but this is the first time I have a book out with an ISBN number.  Some students from states with different rules could use poetry from my previously released CD's, but now everyone can use my poetry if it resonates with them. The book is available at Amazon.

You're hosting a camp for aspiring slam poets. What would attendees look forward to at the camp?

I am really happy to be hosting the second year of our summer camp, an academic intensive focused entirely on teaching the writing and performance mechanics of poetry slam.  The camp is called "The Gustavus Adolphus College Institute of Spoken Word and Poetry Slam."  In addition to writing and performance, we also expose students to dozens and dozens of quality poems and artists--which is great for speech geeks looking for good lit. We also teach students how to publish their own work, how to book tours and network, and how to strategize in competitive slams.  The camp hopes to take a writer of any skill and turn them into a word warrior by the end of the week.  Another appeal to our camp is that we accept graduating high school seniors.  So many former speechies find themselves left out the summer between high school and undergrad because they can't apply to most speech camps, and we encourage those home-for-the-summer students to take advantage of our camp.  I am really happy with our partnership with Gustavus Adolphus College: the facilities are wonderful, the dorms are big, the cafeteria is great, and the faculty really goes the extra mile to give students a memorable experience.  Kris Kracht, the Director of Academic Camps at Gustavus, offered the following words:

Gustavus is honored to be associated with some of the most successful slam poetry artists in the past decade, and our institute provides aspiring poets an opportunity to learn and hone their skills in an academic environment.  We have students registered from 13 different states, which speaks to the growing popularity of slam poetry and this institute.

If someone is interested in attending the camp, where can they apply and when do they need to submit their application?

The camp is an annual summer institute, and takes place the last week of June. The deadline for registration is coming up quick on June 8th.  Interested students can learn more and register at https://gustavus.edu/camps/slamcamp/.  Both the students and staff had a life-changing experience last year, and we expect no different for 2013.

What piece of writing advice would you give to aspiring poets?

The best writing advice I can give is read, read, read.  Introduce yourself to new writers, diverse writers, writers of different styles and time periods.  The more poetry you read the more tools you will have to help you develop your own voice.

What advice would you give someone about to perform in a competition -- be it slam poetry, forensics, or both?

My first World Poetry Slam, I was so nervous.  There were poets walking around with HBO jackets, who had books published and had appeared on MTV and BET.  I felt like I was going to be sick the room was spinning so much.  A big-named poet named Corbet Dean walked up to me and said, "You are the only one that can tell your story.  The are other artists here who have stories to tell, but none of them are yours."  That was really special to me.  It reminded me that I am unique and that my voice is important.  I think all performers need to realize that they are worthy.