SpeechGeek Market Interp Publishers Information

Posted on July 01, 2014 by Stephanie Alderdice

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

 

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College Forensics: Introduction to Interp

Posted on April 14, 2014 by Stephanie Alderdice

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.

Event

National Tournament

Organization

 Rules, Descriptions, and Norms

Dramatic Interp

AFA, NFA,IFA,
PRP, DSR, PKD

Dramatic refers to the type of literature and not the tone of the performance. Pulled from plays, television, film, radio plays, and videos, the goal is to create a vivid character(s) from a piece written with the intention of being performed. D.I.s can range from a singular monologue, one character addressing an audience, multiple characters addressing an audience, multiple characters in off-stage dialogue, or a combination of different styles. Use of manuscript is required.

Duo
Interp

AFA, NFA, IFA,

PRP, DSR, PKD

Similar to high school competition, Duo involves two performers. Recently, national organizations such as AFA and NFA have begun to open the doors for programs and different literature to be used in the event. This means a Duo may range from two characters in one play to multiple characters in a performance that includes plays, prose, and poetry. The goal is to utilize teamwork, highlight interpersonal relationships/cooperation, and employ effective characterization through the interpretation of literature. Use of manuscript is required.

Poetry
Interp

AFA, NFA, IFA,

PRP, DSR, PKD

Poets of the world rejoice! Be it spoken word, free verse, sonnets, haikus - if it is considered a  poem then consider it fair play. You'll find that Poetry in college is quite similar to what you see in high school competition. Without rules restricting literature to ISBN publications - you'll find a greater range of literature available for performance. From one long poem to a program of several, highlighting the use of vivid language (while maintaining a coherent and compelling theme/argument in a program) is the goal. Use of manuscript is required.

Program
Oral
Interp

AFA, IFA,PRP,
DSR, PKD

Program Oral Interp (a.k.a. P.O.I. or "Poy like boy") allows performers to craft a program on a particular theme, concept, or argument through the use of a variety of literature from drama, prose, and poetry. P.O.I. requires a fair amount of skill. Not only do your poems need to sound different than your prose, but you need to piece everything together in a clear, coherent, and compelling fashion. The opportunities for creativity and personal connection are endless. Use of manuscript is required.
Prose
Interp

AFA, NFA, IFA,

PRP, DSR, PKD

Prose is all about stories and narratives and can include novels, short stories, articles, memoirs, and essays be it fiction or non-fiction (though children's literature is virtually non-existent.) Some Prose performances have a single narrator addressing the audience while others may include different characters. You'll find that some stories lend themselves to using a different point of view, and performers exploring narration in first-, second-, or third-person. Your basic goal is to 'tell a story.' Use of manuscript is required.

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.

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Why College Forensics Matters (A Lot)

Posted on April 10, 2014 by Stephanie Alderdice

 

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.

University of Alabama Forensic Team

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.)

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When Forensics "Slams" Into Poetry: An Interview With Slam Poet Adam "Henzbo" Henze

Posted on June 03, 2013 by Stephanie Alderdice

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.

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"Foren-aissance" Woman: SpeechGeek Chats With Coach, Poet, and Encyclopedia Show Co-Creator Shannon Maney

Posted on February 21, 2013 by Stephanie Alderdice

 

 

Renaissance man (noun): a term referring to a person with profound knowledge or skill in a variety of subjects
Foren-aissance woman (noun): a term referring to a forensicator exhibiting profound talent or success in a variety of subjects. [See: Shannon "Shanny Jean" Maney]

Her competitive success earned her a spot in the National Forensic Association Hall of Fame. Her first book of poetry, "I Love Science," was named by the Chicagoist as one of the Top Five Chicago-Authored Books of 2012. She is co-creator of the wildly popular live variety show series, The Encyclopedia Show, which can be found in nearly a dozen major cities across the world. Don't get too intimidated. As a high-school speech coach, she may end up judging you in a round. 

We were thrilled to be able to chat with Shanny Jean about forensics, performing, poetry, and the best advice she can give to competitors.

Tell us a little bit about yourself
I grew up in beautiful Ottawa, IL where I competed in high school, and attended Illinois State University in Normal, IL, where I competed in college. I live in the Normal area again with my husbo and dogs, so I guess you could say I’m from Normal… I know, I know. It’s soooo ironic.

How did you get involved in forensics?
In my high school, the rumor was that if you wanted to get good parts in plays, you had to be on the speech team. At the time, that’s exactly why I did it—for plays. Then in college, I joined the team because they were recruiting on the quad, and I had nothing better to do. I thought I’d just go to a meeting “to see what it was about.” After college, my husband and I moved to upstate New York, and we were there for about two weeks before I contacted one of the colleges in our town to offer my services to their speech team. That’s when I started my career as a coach—I was a young kid coaching the team at Cornell University. Now I’m coaching high school speech, and I think I like it best of all. The satisfaction of seeing someone find forensics for the first time is so awesome and satisfying. You remember what it was like when you found out there was an activity just for you. Imagine getting to see that moment again and again, year after year. It’s the best.

What were your favorite events?
HA. Um. That’s hard. I don’t like to pick favorites! In high school: Humorous Duet Acting, Original Comedy and Prose. (Illinois speech has crazy events!) In college: Prose, Poetry and After Dinner Speaking. And Duo. And Impromptu. Just kidding. I was terrible at Impromptu.
 

What was your favorite piece/speech you performed? What was it about and what did you enjoy the most about it?
Like anyone who did speech for a long time, that’s a tough one to answer. Probably the After Dinner Speech I wrote my junior year of college. It was about women’s menstrual periods and how damaging it is to make that a taboo subject. I loved that speech. It was one of the first times that I wrote something that was 100% my own style—I had figured out what I liked about myself as a writer and a performer, and I showcased those things. I was so proud of that speech every time I performed it. It just made me feel good. There’s no doubt in my mind that that speech is where I learned my chops for my work as a performance poet.

Tell us about the Encyclopedia Shows...how they're different from 'traditional' theater?
The Encyclopedia Show is a literary variety show that looks at a different theme each month. We bring in a handful of artists, writers, musicians, comedians, and give them a month to write about an assignment. We do quirky, goofy stuff between the performers, but it’s definitely less like theatre and more like a combination of a poetry slam and vaudeville.

How did the Encyclopedia Shows come into fruition? What was the first one about?
I started The Encyclopedia Show with my friend (and former speech teammate) Robbie Q Telfer. We had run a poetry slam in Normal, IL during college, and a few years later, we were like, “It’s time to do something new.” Robb had this idea for a show, and we started developing it, and about six months later, we produced the first ever Encyclopedia Show. The first show was about Bears, and it was a little clunky, but it had so much heart. I remember that the week of the show, I watched the pilot episode of Saturday Night Live. It was a little rough—in hindsight, you could see exactly what the show was going to turn into, even if it wasn’t there at the start. That’s kind of like what our first show was like.

What cities are there currently Encyclopedia groups performing?
Chicago! Austin, TX! New York! L.A.! Washington D.C.! Omaha! Boston! Phoenix! Seoul, South Korea! And there are others. It’s sort of amazing.

You're also a published poet! What can you tell us about your book of poetry, "I Love Science?"
WAHOO! I am a published poet! It makes me so proud! I Love Science! is a book about a lot of things—some of them fun, some of them heartbreaking. Books of poetry aren’t like novels, really. It’s not like you can say, “This book is about ___.” You say, “It’s sort of about ____, but it’s also about _____.” I was watching a round of poetry at a speech tournament where a girl I didn’t know was performing “I Love Science!” and according to her intro, it’s a funny and heartbreaking poetic autobiography. I like that. (See!? People do listen to intros!) By the way, CAN YOU IMAGINE performing in a round where it turns out the writer of your program is watching?! I can’t imagine it. When the round was over, I went over and introduced myself. We were both FREAKING OUT.

Where do you find inspiration for your poetry?
Depends on my mood! If there is something gnawing on my brain, I have to sit down and figure out what is bothering me so much. In that way, my life is the biggest inspiration. If nothing’s going on and I’m feeling fancy-free, then the world is my oyster. In that case, I can write about whatever I want. It’s weird to say that I can’t always write about whatever I want, but sometimes, I just can’t. Sometimes, there are things I absolutely have to write about, just so I can clear my brain enough to look at other things.

On top of all of that...you also continue to help coach in forensics. What's the biggest piece of advice you'd give current competitors?
Yep! I love speech, and I love coaching it. It makes me a better performer and writer, and being a writer and performer makes me better able to coach. It’s a good balance. My advice to forensics competitors? First of all, trust yourself and be yourself. The thing that makes some people electric in performances is they really seem to know what makes them shine. Figure out what it is that makes you shine, and do that thing. Be yourself. If you can be yourself and have fun, you won’t care about the rest of it so much. The second piece of advice isn’t really advice at all, but that’s okay since there’s no rebuttal after this. As competitors, you have only just begun to see the impact that speech will have on your life. I’m thirty, and I am only just beginning to see the impact speech has on my life. I am a lot of things--a performer, a writer, a teacher, a coach. If I hadn’t done speech, I wouldn’t be any of these things. I use the skills I learned competing every single day, and I use them in the things I like doing the most. I am so proud of the work I have done.

 

 

 

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