Handbook for Coaches and Judges

Montgomery County Forensics League
Handbook
for
Coaches and Judges
First Edition
August 2002
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Handbook for Coaches and Judges
Foreword
This handbook has been prepared for two main purposes. First it is intended to provide basic
ground rules and principles that may not be specifically stated or even addressed in the extensive
document that is the League constitution. Thus it may be helpful in resolving or even heading off
disputes in interpretation and philosophy among coaches or between coaches and judges.
Second, it is meant to serve as an introduction for new as well as experienced judges to forensics
as a whole, and to each of the categories of competition, individual and group, offered by the
Montgomery County Forensic League (MCFL)
Even the word "forensics" will need some background and explanation. Its root is the Latin word
"forum," which in cities of ancient Roman times was the marketplace where orators would make
political speeches and debate ideas. Hence at the national (i.e. National Forensic League) level,
debate and forensics are strongly linked together, even though the oral interpretation categories
(drama, humor, prose, etc,) are worlds apart in their nature and skill requirements from debate.
Because of the clear differences between these two areas of competition, in Montgomery County
the forensics and debate leagues are totally separate, with different schedules and constitutions,
separate stipends, and usually different coaches.
In the pages that follow, each of the ten categories of competition is briefly described. followed
by a highlighting of their salient characteristics and criteria. No attempt is made here to be
exhaustive. There are and always will be many areas about which experienced coaches will
never fully agree; such is the nature of all criticism involving art, drama, film, poetry, music, and
literature in general. In the end we are all probably thankful for the diversity of opinions; to risk
repeating-a cliché, variety is a spice of life.
Acknowledgements
This handbook could not have been written without the years of wisdom experience, knowledge,
and advice of veteran coaches. Specifically, Roy Simmons, coach emeritus at Walt Whitman
High School, spent dozens of hours composing its predecessor, which was distributed to coaches
in 1999.
Michael Tile, coach at Kennedy High school for over thirty years, contributed ideas and
guidelines for all the categories, many of which probably occur here verbatim (from my many
conversations with Mike over the past three decades). Former Damascus and Watkins Mill coach
Leo Schleicher also contributed opinions and points. Other MCFL veterans who made
contributions directly or indirectly include Mike DeGraba, M.J. Jaffee, Bill Lemonovich, Sylvia
McCrady, Debbie Reier, Judy Rothstein, Lee Viccellio and Jon Virden. Finally, I wrote this
handbook at the request and encouragement of coaches Mike D'Anna, Juliet Good, and Natalie
McManus.
Rusty McCrady. author of this First Edition (August 2002)
Forensics and Debate Coach
Walter Johnson High School
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Handbook for Coaches and Judges
General Guidelines for the Categories
(More specific pointers and aspects for each category are found in the next sections.
following these "General Guidelines.")
MCFL offers eight individual categories of competition: five in oral interpretation. three in
speechmaking. In alphabetical order. here are summaries of each individual category ( i. e.,
categories entered by a single student rather than by groups of two or more students). The
interpretive categories will be followed by the three speech categories and the two group
categories.
Individual Interpretive Categories (Children's Literature, Dramatic Interpretation,
Prose, Humor, Poetry)
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The lime limit for each is 10 minutes, exclusive of introduction. The grace period is one
minute. If the participant exceeds the grace period, the judge should tactfully signal that
the participant should bring the presentation to a halt. The judge must note that the
presentation went overtime on the ballot.
None of the categories has a minimum time length, but the judge may feel that the piece
is simply too short to be competitive (e.g. a one minute thirty second monologue in a
round where all the other Drama pieces were at least five minutes in length.)
Introductions (written by the student) are not timed; they are normally one minute or less.
but there is no formal time limit. If the judge feels they are too brief or too long, the judge
is encouraged to note accordingly.
Students are encouraged to dress appropriately (both for the tournament in general and
for the piece they have chosen to present). However, blatant costuming is not permitted.
In our diverse society, judges are encouraged to allow considerable leeway in terms of
student dress. If the judge strongly that a student could have dressed to greater advantage,
he/she may tactfully so note on the ballot, but points should not be deducted just for the
way a student is dressed.
In regular season tournaments, students normally present the same piece four times (four
rounds) in front of four separate judges. Hence judges are asked NOT to discuss students
by name or title of piece (during the course of a tournament), in order to avoid
influencing a judge who may also see that student perform later that day. The same
advice holds true for the other (speechmaking and group) categories.
Memorization is always optional; however, the student must have a script present and in
front of him/her. and must make some reference to it
Focus points, especially to differentiate characters, are crucial in all interpretive rounds.
Their use is explained in more detail below (esp. in the section on Serious Dramatic
Interpretation).
The degree to which the presenter bas prepared the piece for oral delivery is paramount.
Talented performers will always have the potential to do well, but judges are advised to
credit hard work and practice if they are evident in a polished presentation.
Oral interpretation is not the same as acting. Except in the category of Children's
Literature, where successful presenters occasionally approach the line between acting and
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Handbook for Coaches and Judges
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oral interpretation. gestures must be suggestive rather than sustained, and must be
confined to the immediate area of the podium or music stand. The emphasis is on voice,
and on and subtle facial and physical expressions.
The criteria for judging each category are delineated and explained briefly and clearly on
the ballot by the .guide questions that follow each. The rules for each category
accompany the ballots.
Individual Speechmaking Categories (Extemporaneous, Persuasive, and Informative)
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The time limit is ten minutes for both Persuasive and Informative Speaking, but only
seven minutes for Extemporaneous (Extemp).
The grace period is one minute. Again, the judge may tactfully signal the speaker to stop
after the grace period has been exceeded.
Time signals are necessary in Extemp (see later explanation in that section of the
handbook).
The introduction in these three categories is an integral part of the speech (the speech's
opening). Timing begins as soon as the speaker says the first word. There is no separate
introduction, as there is in the interpretive and group categories.
These are the only presentations in our league that are actually written by the student.
As above, there is no penalty for memorization of Persuasive and Informative speeches.
A script must still be present.
Group Presentations (Ensemble Acting, Readers' Theater)
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The time limit for acting is ten minutes. The limit for Readers' Theater is fifteen minutes.
As with the individual interpretive categories, the introduction (about one minute) is
NOT timed as part of the piece.
The grace period is again one minute. (Same advice as before about the judge stopping
the presentation if it exceeds the grace period, but this is rarely necessary in these
categories.)
As above, blatant costuming for both group categories is prohibited; however, dress
suggestive of a character, IF IT IS SOMETHING THE STUDENT MIGHT
CONCEIVABLY WEAR TO SCHOOL OR A NORMAL SOCIAL EVENT, is
permitted. This guideline holds true for the individual categories as well.
"Acting" is acting, but without props, scenery or blatant costuming. The characters
interact as they would on stage, miming as necessary when a prop such as a phone would
be present The lines MUST BE MEMORIZED.
In Readers' Theater, the focus is off stage, and the script MUST be present in front of
each participant. See the section below for further explanations.
Guide questions for each of the ballot criteria are very directive and helpful for evaluating all
of these presentations. The 4 to 1 (point) scoring system should be seen as parallel to an A to
D grading scale. Please, judges, give a 1 for any criterion only when the speech is truly
inferior in that regard. These teenagers are here on a Saturday voluntarily, and their egos are
fragile. Write concise, relevant comments as much as possible, especially justifying scores
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Handbook for Coaches and Judges
lower than 4. Ties in point totals are acceptable and normal, but rankings must agree with
point totals. (E.g., a 27 cannot rank above a 28).
Judges are asked to read the applicable ballot before the round.
Specific Descriptions and Guidelines for each Category:
Children's Literature
Year in and year out, this has been the most popular category (in terms of participation) of the
eight individual categories offered by MCFL. It has traditionally offered an opportunity for high
school students to exercise creativity, playfulness, and outlandish characterization and voices
that would usually be appropriate in no other category. Pieces may be drawn from literature that
would be enjoyable to any age child, though the target audience is generally children who are in
kindergarten through fifth grade (ages 5-1 1). Even though most books and stories in this wideranging genre rely heavily on pictures, the presenter's script in this category is never shown to
the audience, and is normally a student-typed manuscript of the story presented - not the original
book.
Important points to consider:
 Children's literature may be prose stories, rhymes, poems, or even short plays.
 Many selections in this category are humorous.
 This is one category where students tend to do a lot of acting Of even over-acting as they
deliver the words of the script. If the effect would be entertaining to a group of children,
these histrionics are approved and accepted as a convention of this category.
 The judge must keep in mind that the intended audience is a group of children (roughly
ages 5-11) and that children in the 21 set century can be very sophisticated.
 Thus satirical elements and sly humor, provided they are in the" G" to "PG" range, are
perfectly acceptable. While some children might not get it, many others probably would.
 Multiple voices and characters-often silly and outlandish-are often used to great effect.
Still, an effective narrator (storyteller) voice is of great value in this category.
Serious Dramatic Interpretation
In "Drama" (as it is usually called by coaches and students) the participant
chooses an excerpt from a play or possibly another form of literature, a maximum of ten
minutes in length, excluding the length of the introduction. The key in any dramatic
interpretation piece and presentation is the presence and development of conflict within
one character (as in a monologue) or between two or more characters (in either a
monologue or dialogue).
Important points to consider:
 Narration may be present, but the piece must be predominantly in the voice(s) of the
character(s) speaking the monologue or the parts in a dialogue. If the piece is 50 percent
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narration, it probably should be entered in the category of Prose Interpretation (or Humor,
if it is funny).
One character may be portrayed (as in a monologue), or several may be, as in a multi-part
dialogue.
Focus is a crucial element. During the student-written introduction, the presenter's focus
(eye contact) will be directly to the audience/judge. However, during the actual
presentation, the focus MAY be anywhere in the room, often slightly above the heads of
the audience (as in a stage actor's situation), OR directly at the audience (like a movie
actor addressing the camera), OR to either side, as in cases where the presenter is
differentiating different characters/speakers.
Differentiation of characters may be achieved by different focus points (see above),
distinct voices and tones of voice, facial expressions, and body movement and posture.
A script must be present, in the hands of or in front of the presenter. However. The
presenter must NOT be penalized for memorizing the piece, though he/she should make
some reference to the script.
Expressiveness of face, voice and body is encouraged. but movement must NOT be
sustained to the point of acting. Thus the speaker's movement is confined to the
immediate vicinity of the podium.
Much argument has occurred over the past three decades about the distinction between
drama pieces and prose pieces, especially since MCFL encourages students to use
character monologues and even dialogues from novels and short stories in this category.
The bottom line: there is no litmus test to distinguish a prose piece which is all or nearly
all monologue (e.g. "The Tell-Tale Heart" by Edgar Allen Poe) from a drama piece. This
famous Poe story is more often presented in the Drama category, precisely because of its
power as a monologue, than in the Prose category, where it also could fi t. The coach, and
subsequently the judge, must understand that the only clear, concrete distinction between
drama and prose is that prose may be all, or at least 50 per cent, narration, while drama
must be predominantly dialogue or monologue. And yes, stories and sections of novels
that are first person narratives
MAY be presented in the drama category as monologues.
This is serious dramatic interpretation. As in all great plays. some humor may be present,
but if the piece is mainly humorous, it should be entered in the Humor category.
Humorous Interpretation
Participants choose a story, essay, short play/skit, article or poem whose content is
predominantly humorous. The definition of what is "humorous" varies widely from person to
person. Judges (and coaches) must give considerable leeway he re, and evaluate the presentation
on how funny the material is, but place even more emphasis on how well the participant orally
and physically interprets and expresses the humorous elements. If the judge strongly feels that
the student could have chosen funnier material, the judge may do so, but please be careful and
sensitive.
Important points to consider:
 Even if the material is well known as an audio or video recording, it must exist in
published (print) form.
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Material published on the Internet is acceptable; however. it must have literary integrity
(a serious of random, brief jokes would NOT be suitable), and it should not be offensive
to a 21st century adolescent or adult. This is a tricky and sensitive area.
The judge must give his/her honest opinion, but should be careful about castigating the
student's taste and judgment.
As in all interpretive categories. focus points to distinguish different characters are
essential and should be used effectively.
The use of various funny and even bizarre voices is conventional in this category. They
need, of course, to be appropriate to the material.
Timing and tempo are crucial in delivering humorous pieces. The same is true for facial
and boy expressions.
The participant has to engage the audience. Laughter on the part of the judge and other
audience members is normal, expected, and acceptable.
Poetry Interpretation
The emphasis here is the honest and effective delivery of lyric and/or narrative poems. Dramatic
poems have often been presented successfully in this category, but they are more suitable to the
category of serious drama (as monologues) because of their emphasis on adopting a character's
voice and persona. Humorous or satirical poetry is more suited to the category of Humor. As in
all categories, there is no rule stating a minimum time, but presentations of less than four minutes
are generally not competitive: when a student wishes to present short poems, it is best to present
two or three that are similar thematically, or written by the same poet.
Important points to consider:
 Poetry is a subtle, perhaps mystical art. The oral presenter's job is to understand, capture
and convey the voice, meaning, and tone of the poem as created by the poet,
 and convey it to the audience.
 Earlier points about focus (a poem may have more than one character or speaker) apply
here.
 Remember the advisory about memorization and the presence of a script.
 As in other interpretive categories, the presenter is, to quote coach emeritus Roy
Simmons, "a bridge between the writer's work and the audience in the room."
 Again, as in all interpretive categories, the work must be published. The student may not
present his/her own original poems.
Prose Interpretation
The emphasis here is on effective presentation of excerpts from published stories, novels and
sometimes personal essays. letters and speeches. Please read the earlier section on Dramatic
Interpretation for similarities and distinctions between Drama pieces and Prose pieces. To recapa piece for the Drama category is essentially a monologue or dialogue, while in Prose, the
emphasis is more on narration (storytelling). Can a prose piece contain dramatic elements such
as emotion, suspense, and some dialogue? YES. However, the emphasis is in telling a gripping
story rather than in creating character and voice. There will be cases where the judge, after
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hearing a story that is really a dramatic monologue or dialogue emphasizing character more than
narration, situation, description, and plot, may advise the competitor to enter the piece in Drama
rather than in Prose. However, if the cutting is from a novel, story, or essay (rather than a stage
piece), the student should be given the benefit of the doubt.
Important points to consider:
 The presenter's primary goal is to re-create the story, characters, situation, plot and tone
as the author wrote them. Just as a silent reader hears voices, sees the setting, gets
involved in the plot, and feels suspense and emotion, so the audience and judge should be
able to, as they hear the oral interpretation of the prose piece.
 Therefore, a good storytelling voice is crucial-at least as important as effective character
voices.
 While some pieces of descriptive prose are without question brilliant, a piece with a plot
(beginning, middle and end) usually is most successful here. Description works well and
is an important component, but it is usually of secondary importance.
 It's usually a toss-up as to whether first person stories fit better here or in Drama. Give
the student leeway here if the material is from a story. essay or novel.
 As above, use of focus is important. especially when more than one character is present.
Speech Categories
Extemporaneous Speaking (Extemp)
Extemp is one of the most popular and competitive categories nationally (in fact, at that level it is
broken into two categories, Domestic and Foreign), The goal of an accomplished extemp speaker
is to compose mentally and deliver (using about thirty words of notes on an index card), a
provocative, opinionated speech which responds to a question about a contemporary issue.
(Sample from February, 2002: "Has the U.S. war on terrorism been successful so far?") The
rounds are always broken down as follows: one round each of local, domestic, and international
topics, with round four a mix of all three of these topic areas. The student chooses one topic each
round after drawing three from a pile in the exempt preparation room, and then has thirty
minutes to prepare the speech from any print materials he/she has brought to the tournament that
day. Consultation with any participant, teammate, coach, or other person is prohibited while the
student is preparing. The student may not go online or use any wireless media sources while
preparing the speech in the prep room. The speech is then delivered to a judge in a separate
room, the extemp speaking room.
Important points to consider:
 Extemp speeches arc neither memorized nor prepared as a word by word manuscript. The
speaker has planned strategy, introduction, points, organization, and conclusion during
the thirty minute prep lime, but the written notes or outline on the index card should not
exceed thirty words, and the actual wording of the speech is essentially improvised,
"from the head."
 Since the speaker has had minimal time to prepare and has few written notes, judges
should allow for some verbal glitches and awkwardness.
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The three main criteria for any good extemp speech:
o Is the speaker answering the question?
o Are the speaker's organization (train of thought) and wording clear?
o Does the speaker have enough relevant information (substance)?
Judges must remember to give time signals (showing minutes remaining: two fingers
raised at the end of minute 5; one finger at minute 6; fist at minute seven – meaning that
the student is into the grace period and must finish within one minute).
A podium is NOT necessary. The speaker is free to move purposeful.ly on the floor of the
room while speaking (as an attorney might while addressing~ the jury at a trial).
This is the only individual category that has a seven minute limit (rather than the usual
ten). The grace period is still one minute.
Informative Speaking
The goal here is to present an interesting ten minute lecture, as if you were a guest speaker at a
meeting, or a teacher giving a mini-lesson. While Dot required, the use of audiovisual materials
(PowerPoint, overhead projector transparencies, video- and audiotapes, CDs and DVDs) and the
use of props (posters, other illustrations, paintings, musical instruments, relevant artifacts) are
both encouraged because they enhance the speech. If this sounds like "show and tell," it probably
is, at a sophisticated level. However, 'it IS POSSIBLE to give an effective informative speech
without audiovisual; aids; they are NOT required.
Important points to consider:
 The content of the speech should be interesting but NOT biased. If the speaker want to
change the minds or behavior of the audience, he/she should consider modifying the
speech and entering it in the Persuasive Speaking category.
 Typical topic areas include biographies, fascinating episodes from history, interesting
processes (such the production of chocolate or coffee), music/musical instruments, art,
media, fashion, psychology, etc.)
 The participant needs to plan ahead for needed computers, projection devices, sound
devices, and set-up time.
 The goal is primarily to educate the audience by introducing and explaining something
new. interesting, or not widely known - NOT to express biases or opinions and stir
controversy.
 The speaker may speak for a detailed outline or a full manuscript Again, no penalty for
memorization. as long as a script is present.
 Note cards may be used. A podium is optional.
 The speaker may request some minimal help with light switches and turning A V
equipment on and off.
Persuasive Speaking
Often referred to as "Original Oratory" in other leagues and at the national level, this category of
speaking emphasizes the convictions and opinions of the speaker about issues of values or
policy. Controversial topics (drug use and policy; sexual orientation and mores) are to be
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Handbook for Coaches and Judges
expected and must be allowed. It is often a challenge for a judge with strong personal opinions
on a subject to listen objectively to a speech with which he/she vehemently disagrees. So be it.
Such is the nature of democracy, especially in a nation as diverse as The United States of
America.
Again, the topic may be value- oriented and philosophical ("What is the nature of truth?") or
concrete and policy-oriented ("Why school systems should start classes later in the day"). Keep
in mind that the speaker's goal is to choose an arguable topic, research it, write an organized and
stimulating speech about it, and attempt to convince a contemporary audience to change their
minds or behavior, or to at least give some credit to a side of an issue they do not personally
accept.
Important points to consider:
 These speeches should be clear and easy to follow-especially since the audience does not
have a copy of the speech to read during or before the speech. Transitions, signposting of
major points, internal summaries, and overall organization are crucial.
 In addition to a clear and provocative opinion, the speaker must provide substantiation
(quotes, data, examples. anecdotal evidence, and perhaps statistics).
 Eye contact. sincerity, gestures, and expressiveness are vital. This speech is to be
delivered, not read.
 Controversial topics are to be expected. So are the biases of judges. The conflict between
the two is inevitable. The judge must put personal opinion on hold and evaluate whether
the speaker bas made a clear, provocative, and substantiated case, even if it is distasteful
to the judge.
 Earlier notes on memorization and use of a script apply. Normally the speaker uses a
podium, but he/she may step away from it or in front of it for strategic effect
Group categories
Ensemble acting
This category involves acting out a scene from a play, or occasionally an entire brief one act
play, by a small group of students (usually two, rarely as many as eight or nine-there is no limit).
The material is presented exactly as one familiar with acting workshops might expect: the lines
are memorized, movement (blocking) is carefully planned, and the students interact as if on
stage. However, no props are allowed (but see below), and no blatant costuming is allowed (see
note about costuming above under "General Guidelines." Furniture typically available in any
classroom may be used. The emphasis is on voice, credible acting. and believable
characterization. Students must choose a scene that can be effectively presented in a barebones
setting such as a classroom, within the minute time limit.
Important points to consider:
 Unlike Readers' Theater. Acting pieces are almost always from theater pieces (usually
scenes from plays).
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Scenes chosen need to be satisfying for the viewer to watch in and of themselves (they
need to build a plot with a beginning, middle and end).
The introduction, prepared. by the students. will provide key background regarding plot
and character to enhance the audience's understanding and appreciation of the scene
presented.
In the past, a prop such as a wheelchair for a character (who is wheelchair-bound in the
script) has been allowed after special appeal prior to performance by the coach. Such
extraordinary appeals will be beard on a case by case basis.
Chemistry between the characters. including the building and resolution of conflict will
make or break an acting scene.
Readers' Theater
This category is distinct from Acting in several key respects, which are delineated below. The
goal in this unique form of literary presentation is to place the spectators in the middle of things,
since ALL focus, reactions and gesturing are directed toward the audience, never toward
another presenter. Thus a member of the audience gets the feeling of being on stage, since all
words and emotions are directed toward the audience, even though the presenters speak and
respond as if they are facing each other rather than the audience. If cast member "A" passes an
imaginary letter to cast member "8," "A" hands it toward the audience and "8" then reaches
toward the audience to accept it. One of the singular features of Readers' Theater is the wideopen nature of its. sources. Any published material with more than one voice may be used (one
of the voices is often the narrator). Examples of genres used in the past: children’s stories,
poems, cuttings from plays, adaptations from novels and short stories, skits, excerpts from movie
screenplays, and humorous essays. Material will run the gamut from tragic to comical.
Important points to consider:
 Performers may stand, sit, or do both; they may lie down. Movement may be used, but it
should suggest what is· happening ill the text, must not be addressed directly to another
cast member, and should not be sustained to the point of actin g. All cast members must
carry their scripts with them when they move.
 Entrances and exits are normally performed by turning around. (e.g., turning so one's
back is to the audience denotes an exit).
 Stools and music stands are often used, but they are not required.
 No matter how a production is staged, scripts are required, must be referred to even if the
piece is mainly memorized, and must be present at all times in front of each cast member.
Remember, this is Readers' Theater.
 All focus is offstage (toward the audience) and all movement is directed toward the
audience. Cast members must NEVER touch or look at each other.
 Unlike any other category, the time limit is fifteen minutes (plus the one minute grace
period),
 Music, musical instruments, and electronic or mechanical sound effects MAY be used.
Singing is also allowed (as long as the entire piece is not sung!).
 Readers' Theater cast sizes range from two to as many as a dozen. There is no set limit.
 Same advisory as for all other categories regarding costumes.