Open Interpretation Rules
During competition in this event, participants must adhere to the material contained in this rule section to ensure a fair and enjoyable experience for all.
Open Interpretation Definition
Open Interpretation is an interpretation speech that explores a published literature selection.
A. Mission Alignment
These rules represent alignment with the mission. While the goal of NCFCA is to keep a speech in competition, a violation of any of these rules may result in a penalty if the speech cannot be brought into compliance with the rules.
- Speeches must be in alignment with the NCFCA mission statement.
- Any speech content which advocates a position counter to the Foundational Beliefs of the league will not be allowed in competition. (Please see the League Handbook for information on the Foundational Beliefs.)
- Any speech which contains potentially intense or sensitive themes or examples must be preceded by this disclaimer: “This speech contains potentially intense or sensitive material.”
- Vulgarity is never acceptable. Vulgarity includes explicit or implied language or gestures which are inappropriate, obscene, or profane.
B. Academic Integrity in Open Interpretation
These rules represent integrity in competition. A confirmed violation of these rules will result in a penalty.
- All material presented in the introduction and/or conclusion must be either the competitor’s original work or include the source(s) for any information, details, research, theories, stories, lyrics, tunes, or ideas obtained from another person or source–whether directly quoted, paraphrased, or summarized.
- Plagiarism is strictly prohibited.
- External sources must be verbally mentioned.
- Sources must be included on a Works Cited page.
- Common knowledge that is known to most people does not need to be cited in any way (e.g., George Washington was the first U.S. President, Jesus rose on the third day, etc.).
- Any blocking, characterization, etc. must be original and developed primarily by the competitor.
- Speeches used for competition in a prior season may not be used in any other competition season. The submitted script must be recited during all competition rounds.
- During championship tournaments, competitors must perform the same piece that they performed when they earned the invitation to compete at the championship tournament. In other words, it is the combination of both the piece and the person that is awarded an invitation to the higher level of competition. Minor revisions, such as revising a cutting, are allowed. The competitor should not go so far as to change the main theme of a speech or take a cut from a different section of a literary selection while preparing for advanced competition with a speech that has already qualified.
- Script or note use at a Regional or National Championship will result in disqualification from the event.
- All material presented in the introduction and/or conclusion must be either the competitor’s original work or include the source(s) for any information, details, research, theories, stories, lyrics, tunes, or ideas obtained from another person or source–whether directly quoted, paraphrased, or summarized.
C. Event Rules for Open Interpretation
In any competitive event, boundaries must exist in order to create a level playing field. These are rules that are in place to avoid a competitive advantage of any competitor over another. A confirmed violation of these rules will result in a penalty.
- Tournament Administration will apply a four-rank penalty to the judges’ final ranks for any competitor who has a script or notes within their view during their speech at any tournament other than a Regional or National Championship.
- A pre-show is not permitted. A pre-show refers to rehearsed blocking, synchronized movement, or additional performance prior to the beginning of the timed speech.
- Only feet are permitted to intentionally touch the floor at any time.
- Gymnastics are not permitted. Gymnastics include acrobatic-type blocking such as flips, cartwheels, leaping over people or objects, etc.
- Costumes are not permitted. Costumes include any item(s) worn in addition to the competitor’s tournament attire.
- Visual aids are not permitted. Visual aids are items used to enhance the speech. In an online tournament, this also includes green screens, virtual backgrounds, or on-screen text.
- Competitors must present their speeches center stage (or within the camera frame for online tournaments) and must not infringe on the judges’ table or personal space.
- Requesting verbal or physical participation (e.g., raising hand, clapping, verbal responses, closing eyes) from audience members, including judges, is not permitted.
- In online tournaments:
- Other individuals may be present during the speech but must not be intentionally visible on screen.
- A single, stationary camera must be used (i.e., no zooming or panning is permitted).
- Only audio presented live from the competitor is permitted (i.e., audio that is computer-generated, recorded, generated by a third-party, etc. is not permitted).
- Competitors must present a single, non-original, published literature selection.
- “Single literature selection” indicates that only one selection may be used. Even when published in one volume or written by the same author, only one selection may be used (e.g., a single short story or poem from a collection, an individual book of the Bible, etc.).
- “Non-original” indicates that the literature selection is not written by the competitor.
- “Published” indicates a work of an author which is available to the public. Published does not include material from blogs, social media, or transcription services for audio or video recordings, radio, TV, or movies (e.g., dailyscript.com, simplyscripts.com, etc.).
- “Literature” includes plays, prose, or poetry.Cutting the Literature Selection
- When cutting the literature selection, single words from separate sentences may not be strung together to create new sentences.
- When cutting the literature selection, an author’s words may not be changed except for
- combining phrases from several nearby sentences.
- repeating an author’s words even when the author does not do so.
- adding a single word from a nearby sentence for transition or character identification.
- pronoun substitution and verb tense.
- When cutting the literature selection, reassigning one character’s lines to another existing character from the literature selection is permitted, but creating new characters (including changing the name and/or gender of an existing character) is not permitted.
- Within the literature selection, published songs from another source are only permitted if the author has included a reference to the song.
- Up to 150 words may be added as an introduction and/or conclusion.
- Clear distinction must be made from the literature selection.
- Original dialogue must not be assigned to an author’s character.
- A short teaser from the literature selection may precede the introduction.
- The title and author of the literature selection must be included in the introduction.
- Any words added as a conclusion must be the final words presented.
- Singing may comprise up to 150 words of the speech.
D. Timing Rules in Open Interpretation
A violation of any of these rules will result in a 2-rank penalty. (In some cases, other penalties may apply.)
- Speech time is limited to 10 minutes. Competitors must show their timepiece (set to count up) to the judges before starting their speech and after turning off their timepiece at the end of their speech. The timepiece must be started before beginning the speech and kept running until the conclusion of the speech.
- Competitors must present their speech during their prescribed 15-minute slot and are not permitted to infringe on the next competitor’s scheduled time.
Guidelines
In preparation for tournaments, participants should familiarize themselves with the following guidelines.
NCFCA Mission Statement
to challenge and equip ambassadors for Christ to communicate truth with integrity and grace
League Policies
Participants must abide by all NCFCA Policies.
Speech Competition Material Policy
Competitors have the opportunity to develop communication skills through speech competition. Practicing these skills can develop great leadership, great thinking, and great personal opportunities but more importantly should be seized as an opportunity for challenging and equipping ambassadors for Christ to communicate truth with integrity and grace. Make the most of the competition season by embracing our mission when preparing the competition material for speeches!
What and How
Competitors must choose materials for speeches that align with the NCFCA mission, using the Foundational Beliefs and the Core Values as markers for upholding a strong witness for Christ. Great care and sensitivity should be given as content and sources for use in competition are considered and presented. Consider not only what is presented but also how it is presented.
Consider the Content
While we live in a world that is often messy and broken, as Christian communicators, we value messages of redeeming truth. We have both the privilege and responsibility to discover, meditate upon, and communicate whatever is true, honorable, just, pure, lovely, commendable, excellent, and praiseworthy in all areas of life (Philippians 4:8). This does not mean that every source or presentation needs to have an overtly Christian theme, but all dark themes must provide a redemptive element.
Consider the Audience
All speeches with potentially intense or sensitive themes or examples must be preceded by the NCFCA disclaimer as scripted in the event rules. Regardless of who is in the room, competitors should give the disclaimer after introducing themselves to the judges and pause before starting the timer for the speech to begin. The disclaimer provides a mechanism for families to participate in tournaments and still be able to determine when and how they introduce their own children to intense topics by instructing them to leave the room whenever a disclaimer is given. Even if there is no audience in the room, the disclaimer and pause give the judge(s) a moment to mentally prepare themselves.
Two practical items to note are that the disclaimer is not required in a speech script, but marking the intention of giving a disclaimer is part of the required script submission process for tournaments.
Present the Sources
Competitors are committed to the highest standards of academic integrity and ethical conduct (see League Handbook p. 8). Great care and sensitivity should be given as sources for use are presented. Competitors should strive to clearly communicate what is their own original work and what is not. This looks a little different depending on the event, as seen in the event rules, but the principle is the same.
Competitors should clearly communicate the sources of any material presented, recognizing that in a primarily verbal activity the burden of the speaker is for the audience to be able to hear and understand. Placing the verbal mention of a source near the quoted or summarized material may seem cumbersome, especially for longer more complex platform speeches. If so, meet this challenge with enthusiasm and a prayer for creativity! It’s a chance to be more thoroughly equipped to communicate truth with integrity and the flair of artistic grace!
Our rules require a verbal citation of any supporting material (i.e., material that is not original to the speaker) along with a Works Cited page. Note that any material written by artificial intelligence and similar technologies (e.g. ChatGPT, etc.) is not original and should be cited. We recommend that you also parenthetically cite any corresponding ideas. If a speech is called into question regarding academic integrity during a tournament, clear citations may allow our compliance teams to resolve any concerns without a need to call a competitor for a meeting. Find examples of citations in the Interpretation Script Guidelines, Platform Script Examples, and Interpretation Script Examples.
Interpretation speeches also have a high level of nonverbal material presented. Any blocking, characterization, etc. must be original to the speaker in order to maintain our standards of academic integrity. We recommend not watching productions of the particular literature selections you plan to use in order to avoid the potential for plagiarism. Although competitors use the author’s words for their selection, the vocal and physical delivery must be primarily developed by the competitor.
Ballot Rubric for Interpretation Speeches
See the ballot rubric that judges will view in competition rooms.
Click Here > Ballot Rubric for Interpretation Speeches
Speaking Schedule
At each tournament, competitors will deliver the speech for each registered event three times. Each of those times is called a “round.” If a speech advances (or “breaks”) to an elimination round, the competitor earns another opportunity to deliver the speech, and will be recognized with a final placing at the awards ceremony.
Competitors will be assigned a 15-minute speaking slot for the event within the round. The beginning times of these slots, along with the room number, are posted on the tournament platform as well as around the tournament facility throughout in-person tournaments. Competitors should be present and ready to begin at the start of their assigned speaking time or will risk losing the ability to present their speech in its entirety, as they may not infringe upon the next speaker’s slot.
Room and Judge Protocols
For each speech round, a wall posting will be outside the room so that names and speaking order can be easily verified. The door should be open with at least three judges seated at a table, and the competitor may walk to the “center stage” area to indicate that he or she is ready. Once ready, competitors should introduce themselves before they begin the timer for their speech, but they must not initiate conversation or deliver any rehearsed message, as this “pre-show” would constitute a violation of the rules (see event rules). We understand that some judges are chatty and enthusiastic. Competitors should always be polite and friendly in their responses to a judge; they may also politely remind the judge that competitors are instructed to not carry on conversations with judges in a round. Competitors can choose to hold their timepiece or set it on the judges’ table, but they may not infringe on the judges’ table or personal space during the speech.
After the speech, competitors should briefly thank the judges for their time and promptly leave the room, so that the room can be ready for the next speaker.
Interpretation Event Guidelines
Below are some things to consider as you prepare for competition in the interpretation category.
Story Elements
Literature Selection
All interp speeches present an author’s story in a personalized way. The first step is to pick the literature selection. Competitors have the freedom to choose any literary selection they wish within the boundaries of the specific event rules, but they should choose a piece of literature that warrants literary merit. Literature becomes noteworthy as an artistic form through using vocabulary and style for rich linguistic choices, classic and universal theme choices, and clever or insightful character development. Books with literary merit are books we think are worth reading again and again.
Please note that any copyrighted works may be used under the “fair use” doctrine for the purposes of interpretive competition events in an educational setting. Speakers are responsible for satisfying any requirements set forth by the publisher. For more information on copyright law, visit www.copyright.gov.
Cutting
Once chosen, competitors will need to “cut” a script. Cutting is a method of adapting an author’s work to fit time constraints and to give the speaker creative license to draw out preferred aspects of the author’s work. For example, a longer novel may have an overarching storyline and several subplots. A competitor might choose to explore the selection by telling the overarching story or choosing one or more of the subplots. Perhaps a competitor is drawn to one particular character’s development or one particular theme from the book. Cutting the lines to convey that part of the author’s work is part of the creative process when preparing an interpretation speech.
Limitations are placed to preserve the integrity of the author’s piece. Because competitors are presenting someone else’s work, no words may be added to the selection, only taken out.
Note: Original Interpretation speeches are not cut literature selections, since they are written by the competitor.
See samples of how the rules apply to actual excerpts from a published work of literature.
Click Here > Interpretation Script Cutting Examples
Narrative Sections
Narrative sections are original words added by the competitor to verbally mention the literature references and to allow development and cohesiveness of the theme. Narrative sections are also opportunities to include supporting material and should follow the same academic integrity guidelines as the other speech categories. Duo, Open, and Original events are limited to an Introduction and/or Conclusion for the narrative sections, but Biblical Thematic speeches will include a narrative selection before each literature selection, if only to name the literature’s reference.
Delivery
Interpretation speeches bring the author’s work to life by drawing out the audience’s imagination through the creative vocal and physical delivery of those words. We think of these through two main methods: characterization and blocking. Telling the story is important, but showing the story is the superpower of the interpretation speeches!
Characterization
Characterization includes the vocal variations and body language that create a character distinct from the competitor’s real self. Vocal variations may include accents or other idiosyncrasies appropriate for a particular character. Body language choices include things like posture, gestures, and facial expressions. All of these should be considered when creating a character to show the audience mood, attitude, country origin, age, likability, and more!
Blocking
Blocking consists of actions the competitors do to create an imaginary scene and bring life to the story they are telling. Competitors may pretend to sit in a rocking chair, for example, or reach out to pick up a potted plant. More instruction and ideas for blocking can be found in our Speech Curriculum, which can be purchased in the NCFCA shop.
Timekeeping Protocols
Competitors must provide their own timepieces and are responsible for timekeeping. It’s important to practice the timekeeping and round protocols before a tournament, as it is another layer of detail to master beyond the speech itself. We recommend practicing each speech with the timepiece that will be used for that tournament. We also recommend having a back up timer and/or more batteries on hand in case of malfunctions.
Timing a Speech
- Step 1 – Set the timer to 00:00 going up.
- Step 2 – Show the timepiece to the Head Judge for confirmation.
- Step 3 – Start the timer.
- Step 4 – Deliver the speech.
- Step 5 – Stop the timepiece.
- Step 6 – Show the timepiece to the Head Judge, who will then announce and record the time shown.
Note:
The speech time begins when the speaker starts the timepiece and ends when the speaker stops the timepiece, so competitors should not stop and restart the timepiece unless it is within the first sentence of the speech.If the competitor makes an error with the timepiece that results in being unable to show the head judge the time or a correct time, or the speech goes 15 seconds over the time limit, a 2-rank “timer issue” penalty will apply.
Interpretation Script Submission Requirement
During the designated timeframe for each tournament’s check-in process, competitors and a parent or coach must complete an online script submission form and certify compliance with all applicable rules for each scripted speech. A disclaimer box for sensitive material must be marked if applicable.
Every interpretation speech requires two types of scripts: the Format 1 and the Format 2.
- The Format 1 script is a typed out document that reflects every word in the speech. These are the words that have been “cut” from the author’s work.
- The Format 2 script is a copy of each page from the original source of the literature selection, with the cut words highlighted.
Both Format 1 and Format 2 must be uploaded in .pdf (preferred), .doc, .docx, .jpg, or .png format as part of the script submission process.
NCFCA’s receipt of a submitted script does not ensure rule compliance, but the scripts are referenced in a tournament if a rules question should arise.
(Note: Only one duo partner must upload the script.)Interpretation Script Format Guidelines
Every interpretation speech requires two types of scripts: the Format 1 and the Format 2. The Format 1 script is a typed out document that reflects every word in the speech. These are the words that have been “cut” from the author’s work. The Format 2 script is a copy of each page from the original source of the literature selection, with the cut words highlighted. This section will explain what these scripts should look like and how the script submission process works.
Format 1 Script
The Format 1, or typed script, should clearly reflect what is presented in the speech. A script-style format (i.e., added stage directions, character names to identify lines, etc.) is not needed for submission. Here are some guidelines to make sure the script clearly reflects what is presented in the speech:
- Use bold font for any Introductions, Conclusions, and/or Narrative Sections. (This does not apply to the Original Interpretations.)
- Italicize any words of singing.
- Use quotations marks for any directly quoted supporting material.
- Parenthetically cite any supporting material, including published tunes that are vocally expressed without words. (e.g. humming, Schifrin, Lalo. “Mission Impossible Theme Song”).
- Underline the following:
- the title and author of the literature selection. (Only the title of the original or derivative work in an Original Interpretation is needed.)
- the title and author of the external source and the new and unique literary element(s) where the speaker states them in an Original Interpretation.
- any verbal mention of sources for supporting material, whether directly quoted, summarized, or quoted.
Required: a Format 1 script should also include a Works Cited page, if any supporting material is used. Note that the external source for the derivative work in Originals are considered supporting material and must be listed on the Works Cited page as well. Suggested Works Cited page formats may be found on library or university websites.
Format 2
The Format 2, or copy of the original source material, should clearly reflect what is presented in the speech. All words included in the Format 1: Typed Script must be highlighted on the submitted pages. Here are some guidelines to make sure the script clearly reflects what is presented in the speech:
- Include the title page and/or publishing page to demonstrate the publication of the selection(s).
- Include all pages from the original source material containing lines used in the speech.
- Scan/copy and highlight the pages so that the words are legible.
- Do not cross out or obscure words on the pages.
- Arrange the .pages in a way that reasonably follows the Format 1 script.
(Note that Original Interpretation speeches do not need a Format 2.)
See Script Samples
Click Here> Interpretation Script Format Examples
Online Tournaments
For online tournaments, competitors should plan ahead for success. See the Tournament Prep Guide for technology-specific considerations. Competitors should decide if they will stand or sit during the round and place any desks or chairs accordingly before the round. Competitors are able to enter the online room before it is their turn to speak but must keep their cameras turned off until their own time slot. They should think of turning the camera and mic on as synonymous to entering the room at an in-person tournament. Once on, they can introduce themselves by name to the judges and begin promptly. Competitors must mimic the “center stage” of in-person tournaments when possible, generally showing a minimum of the head and shoulders and keeping the camera on at all times. After the speech has concluded and the competitor has thanked the judges, the competitor should turn the camera and mic off.
Competitor technical difficulties, while unfortunate, are accounted for by allowing 15-minute time slots. Speakers experiencing technical difficulties are not eligible for additional time or accommodations, or re-addition at the end of the round. Competitors should keep their cameras on as specified by their event except when experiencing significant technical difficulties. Competitors may contact Tournament Administration for troubleshooting help in the room.
Speech Competition Entry Policy
Competitors have the opportunity to compete in many tournaments throughout the season. Understanding the life cycle of a season, the limitations of the events for each tournament, and how those interact with the other tournaments will help you make the most of the competition season. Please see the Tournament Prep Page for more details about tournament types.
- Limitations for Regional Qualifiers and National Mixers
- Competitors may participate in a maximum of five speech events at any given tournament.
- Competitors may only register once in each event for any given tournament.
- Competitors may not enter the same speech in more than one event for the same tournament; however, the speech may be entered in a different category for a different tournament during the same season.
- Duo Interpretation competitors may not change partners during a tournament but may change partners between tournaments.
- Limitations for Championship Tournaments
- In a Regional Championship, competitors may compete in any event for which they have qualified.
- If a speech qualifies to the next level tournament (either the Regional Championship or the National Championship) in more than one event the competitor must choose only one event in which the piece will be performed at the higher level of competition.
- If a Duo Interpretation competitor qualifies with different partners during the competitive season the competitor must choose only one of those qualified partners with whom to participate at the next level tournament (either the Regional Championship or the National Championship).
- During the Regional Championship or the National Championship, competitors must perform the same piece that they performed when they earned the invitation to compete at the championship tournament. In other words, it is the combination of both the piece and the person that is awarded an invitation to the higher level of competition.
- Limitations for Regional Qualifiers and National Mixers