Tag Archives: Freelance Quiz Bowl University

A Brief Guide To Running a Tournament

Author: Donald Taylor

Level: Intermediate

This article was originally published through PACE’s now-defunct Freelance Quizbowl University program.

PACE presents the PowerPoint slides from Donald Taylor’s presentation to Schobowlfest, a high school coaches’ conference in Illinois, on “Running a Tournament, Start to Finish.” The slides contain a brief reminder about everything that one has to take into account when running a tournament, from the initial tournament conception to post-tournament expectations.

Download the slides:

as PowerPoint (Office 2007 required)

as pdf

Getting Questions for Your Tournament

Author: Dwight Wynne

Level: Intermediate

This article was originally published through PACE’s now-defunct Freelance Quizbowl University program.


One of the biggest problems that people encounter when trying to run tournaments is finding a set of questions on which to run their tournament. However, getting questions is not hard if you know where to look. This article will explore:

  • Benefits and drawbacks of ordering from a major national provider (NAQT or HSAPQ)
  • Benefits and drawbacks of “mirroring” (running a tournament using the same questions as) an independent tournament
  • Benefits and drawbacks of writing your own set of questions
  • Some examples of factors you should consider when deciding how to obtain questions

Ordering Questions from NAQT and HSAPQ

Ordering questions from a national question provider has a number of advantages. First, you know what you will get when you order the questions: both NAQT and HSAPQ provide high-quality questions for a little over $15 per participating team (HSAPQ is slightly less expensive for small tournaments and slightly more expensive for large tournaments). Second, ordering questions from these companies is as simple as sending an e-mail to the correct e-mail address; both companies are prompt with their responses and you will know less than 24 hours after sending that e-mail whether or not they have a packet set for you to use. Third, both NAQT and HSAPQ are ready and eager to answer any questions newer teams have about running a tournament; if you have any question about what to do, chances are someone at your chosen question provider will be able to walk you through it. Finally, NAQT does an excellent job of publicizing your tournament through its website (HSAPQ less so), and both companies are devoted to outreach. These companies will help you find teams for your tournament.

However, there are some drawbacks to ordering questions from a national provider. The major one is that each company produces a limited number of sets each year, and each set can be used only once in a general area, so if you are in an area that hosts many tournaments during the year, every set from your chosen provider may have already been ordered by another team in your area. In addition, many sets from these national providers are completed only shortly before the set’s first use, so if you would be the first use of a tournament set, you may have to make it exactly clear weeks in advance the absolute latest you would be able to receive the set.

Mirroring an Independent Tournament

Independent tournaments are written by a group that comes together one time to write one set of questions for use at their own tournament. Well-written independent tournaments have many of the same advantages of the major national question providers: you will get high-quality questions for a reasonable per-team fee, and you will likely be able to talk to one or more members of the writing team if you have problems with your tournament. Because many independent tournaments are written by high school players and coaches, some people think that independent tournaments may more accurately test what high school players know.

However, there are some drawbacks to mirroring an independent tournament. First is the potential difficulty in publicizing your tournament and attracting teams. NAQT and to a lesser extent HSAPQ are “name brands” that most teams recognize; whatever independent tournament you are mirroring probably isn’t. You also will not have anyone stumble upon a mention of your tournament. What this means is that you will have to do all the team recruitment yourselves. Second, independent tournaments are of highly variable length, difficulty, distribution, and quality. You know what you will be getting with every NAQT or HSAPQ set you order; if you want to mirror an independent tournament, you will have to find one that closely matches how you want the questions to look.

Writing Your Own Tournament

You can run your own independent tournament by writing your own questions. Doing this means that you get to set your own guidelines for distribution, length, and format. It also means that you are in charge of what answers are selected and what clues are given for those answers. Writing your own tournament is also one of the best ways to get better at learning the clues and answers that regularly show up at the high school level.

However, writing a tournament can be a daunting task. You need to have one person in charge of making sure that everyone on your writing team meets the deadlines you set. You need to have one person in charge of making sure that there are no repeat questions, and one or more people in charge of editing every question to the length and difficulty you want. Finally, you need to start writing and editing the moment that you decide to write your tournament and not stop until the time that you need to print out the questions or send them to mirror sites. Writing a tournament requires a major investment of time and effort on the part of everyone involved.

What Not to Do: The “It’s Not That Hard” Fallacy

Writing a tournament, especially a good tournament, is harder than it looks. It takes longer to write and edit a question than you think it will. It takes longer to compile packets than you think it will. People will flake out on you and not write their questions, or will procrastinate and get their questions to you late. If you commit to writing a tournament, you need to plan for it being harder than you think it will be. Thinking “it’s not that hard” will result in a packet set that looks and feels rushed, if you finish it at all. Set small deadlines for when specific little pieces of the tournament should be done, and stick to those deadlines. If you find yourself missing deadlines, ask other people (other team members, other high schoolers in other parts of the country, college players) to help you out, and ask early.

Weighing Your Options

I’m going to assume that you’ve decided that you don’t have the time or experience that you would like to explore the option of writing your own questions, and that you are looking to order questions from somewhere else. Here are some variables that you should consider:

Field Strength

What kind of teams are you trying to attract to your tournament? If your area has a lot of new teams, you may want to try to find a “novice” tournament. Novice tournaments are typically run on NAQT A-sets or an independent tournament specifically catering to novices (e.g. Fall Novice, HAVOC). Most tournaments want to attract everyone from nationally competitive teams to freshman C teams, and will go with a “regular high school difficulty” tournament. NAQT IS-sets and most HSAPQ Tournament Sets are advertised at this “regular difficulty” level; most independent tournaments are also written at this level. If you expect a field with many nationally competitive teams, you may want to consider using an independent set that is traditionally regarded as skirting the upper edge of “regular difficulty” (e.g. Harvard Fall), or a set marketed to college novices (e.g. NAQT Sectionals Division II, Minnesota Undergraduate).


Most independent tournaments and national providers use a variant of the tossup-bonus format. HSAPQ also offers a couple of tournaments a year in the four-quarter format (ten tossups, ten tossups with bonuses, directed round of ten questions to each team, ten tossups). If you want questions in a league-mandated format that is not one of these formats, you may want to see if there are independent tournaments using a similar format. You may also want to ask NAQT or HSAPQ if they would be able to adapt one of their pre-existing sets to your specifications; both companies are usually open to minor modifications of their sets, but would have trouble fulfilling your request if it is too different from their standard fare.

Distribution and Length

NAQT has significantly more questions in the areas of popular culture and current events than HSAPQ; HSAPQ has more questions in fine arts and religion/mythology/philosophy than NAQT. Independent tournaments will often advertise their distribution. HSAPQ and most independent tournaments do not write computational math tossups; NAQT gives hosts the option to include or exclude them.

Another consideration is the length of tossups. NAQT institutes a strict 425-character cap on the length of their IS-set tossups; HSAPQ’s questions are longer but do not exceed six lines of text. Independent tournaments can have tossups range in length from one line to seven lines depending on the tournament.

What Not to Do: Buying Blind

The single biggest mistake people make when finding questions for their tournament is buying questions with only limited information about the questions themselves. Simply put, if you don’t know what you’re getting into when you order a packet set, don’t order it. Some basic rules of thumb are: know the distribution of the set you’re getting, and know how likely the question provider is to skirt around that distribution by doing things like listing Dude, Where’s My Car? in the Fine Arts distribution; know not only how long the questions are but how many buzzable clues are contained in that length (ask to see a sample packet if you’re not sure); know the target difficulty of the tournament and how likely the writers are to hit that difficulty; know how much you’re supposed to pay for using the questions; know when you’re likely to get the questions and how much work you’re likely to need to do to make them “acceptable” for the teams at your tournament.

Asking For Help

There is nothing wrong with asking for help if you’re not sure how to get questions for your tournament. If you have a good idea of what specifically you want, you can ask trustworthy, experienced tournament directors in your area for recommendations, or you can post your question in the Theory/Newbie Help section of the hsquizbowl.org forums and get answers from a nationwide group of players, coaches, and tournament directors. It may also be a good idea to monitor the “National and Regional Comparisons and Discussion” section of the forums to see what independent tournaments are offering their questions for mirrors, and contact the people in charge of those tournaments if you see a set description that strikes your fancy. Finally, if you’re completely at a loss for what to do, you can rarely go wrong by looking at NAQT’s and HSAPQ’s sample sets and ordering a set of the type that you like best.


  • NAQT and HSAPQ are the major national providers of high-quality pyramidal questions; their help in running a tournament and attracting teams make them a good choice for first-time tournament directors, but their sets may sell out early in your area.
  • Independent tournaments are quite variable; many of the best ones offer benefits similar to those of NAQT or HSAPQ without those of a nationally-recognized company name, while the worst ones have major problems that you should stay away from.
  • Writing your own set of questions can be a valuable and rewarding experience, and gives you complete control over how your tournament looks; however, it is much more time and labor-intensive than it initially seems.
  • When considering where to order questions from, you should consider your target field strength, the format of the set, and distribution and tossup length, among other things. Don’t commit to buying questions unless you know what you’re getting.
  • It’s allowed and encouraged to ask for help in choosing a question provider for your tournament, but you should have some idea of what you want your tournament to be before asking. If you really have no idea, it is hard to go wrong looking through the NAQT and HSAPQ samples to find something you like.

About the Author: Dwight Wynne has directed tournaments in Southern California since 2003.

Focus on Statistics: Using SQBS

Authors: Donald Taylor and Dwight Wynne

Level: Intermediate

This article was originally published through PACE’s now-defunct Freelance Quizbowl University program.

The second part of this special Focus on Statistics double feature contains a downloadable guide to using the popular statistics program SQBS. The first part, which can be viewed here, focuses on the many duties a statperson can perform in addition to just keeping statistics.


Donald Taylor and Dwight Wynne co-authored a guide to using SQBS for the Fall Novice Tournament. Freelance Quizbowl University is now proud to offer the guide as a downloadable Microsoft Word file.

Click this link to download the SQBS Guide

Focus on Statistics: The Active Statperson as Co-Tournament Director

Author: Donald Taylor

Level: Advanced

This article was originally published through PACE’s now-defunct Freelance Quizbowl University program.

The first part of this special Focus on Statistics double feature focuses on the many duties a statperson can perform in addition to just keeping statistics. The second part, which can be viewed here, contains a downloadable guide to using the popular statistics program SQBS.


In its most basic form, doing statistics involves entering data from games into a program and generating standings and web reports. This in and of itself is vital to the ability of any tournament to function, especially if statistics-based tiebreakers are used. However, I contend that a statperson is in a position to also double as a co-tournament director during the tournament itself, due to the nature of the position of statperson and what it entails.

Many people prefer not to work as a statperson because they find the position boring. These people are not taking advantage of the full potential of the position. An active statperson does a number of things that keep him/her fully engaged in the running of the tournament and make the tournament run smoothly.

This article will cover:

  • Why the statperson should serve as a communications hub
  • How the statperson can help coordinate staff
  • How the statperson can streamline protest resolutions
  • How the statperson can help minimize the effects of unexpected problems

The Statperson as Communications Central

Because the tournament director is usually reading a match, that person cannot always communicate pertinent information to everyone else involved in the tournament. He/she does not always know what is happening in rooms other than his/her own. The statperson is in a unique position to offer a second opinion to the tournament director, because he/she best knows the state of the tournament.

The statperson, because he/she is in communication with every game room, can ultimately spread the tournament director’s final decisions to staff and/or teams, or take input from other staff and relay it to the tournament director. This connectivity extends to information concerning lunch breaks, playoffs, finals, and cleanup, just to name a few things. The tournament director must often take his/her focus off the tournament as a whole to focus on just one room; an active statperson is the one with a broader focus on the entire tournament.


I served as statperson for almost every tournament at the University of Illinois in the 2008-9 academic year. At those tournaments, I communicated statistical information and other important information via AIM and email. This way, I could relay information while entering stats and with minimal interruption during an actual match.

The Statperson as Staff Coordinator

One of the big things that affects the pace of a tournament is the variance in moderator speed. One slow room in Round One leads to two or three slow rooms in Round Two, and it just snowballs from there. The only person who knows which moderators are having trouble is the statperson. He/she can tell, because that moderator (or his/her scorekeeper) is among the last to get scoresheets to the stat room by several minutes. When this happens, the statperson should tell the offending staffers to pick up the pace, and possibly see who can step in if it gets too bad.


I directed the 2008 EFT mirror at the University of Illinois. After one reader no-showed, I put in a reader I didn’t initially want, but had little choice at the time. After a disastrous beginning, one high school coach volunteered to read, and did so. I was reading elsewhere, and was unaware of the problem until it was brought to my attention. A statperson is in an excellent position to handle this kind of staffing issue, because his/her attention does not need to be on the questions and the teams playing during any round.

The Statperson’s Role in Protests

There are times that a protest or four must be resolved, and at those times the tournament director is typically otherwise pre-occupied. The statperson should be the person that gathers the relevant information concerning the protest from both the moderator and the teams involved, assures each team that the staff will make a fair resolution, and directs the teams to go to their next game room. The statperson relays the pertinent information to the tournament director at first convenience.

Tournaments may have a designated off-site person to call in case of protests, in which case the statperson can call that person, and the tournament is only slightly delayed when the statperson notifies the tournament director that there was a protest and that it is being resolved. In other cases, the statperson may have Internet access and may be able to gather factual evidence supporting one side or the other; this too will streamline the protest resolution process. In any case, the statperson should be the one to seek out both teams involved once the protest is resolved, and effectively communicate the ruling to each of them. For these reasons, a statperson is an ideal person to have on a tournament’s protest committee.


At large tournaments with a number of logistical complexities, using the statperson as the protest coordinator is the only effective way to resolve protests. For instance, at the 2009 PACE NSC, I was one of four statpersons responsible for two different brackets. In case of a protest, I was to call the TD and relay the information, wait for a call back, and relay the details to the teams involved.

The Statperson as Problem Solver

In some cases, crazy stuff happens that no one can anticipate. Because the statperson is the center of communications, he/she is usually among the first to know about these things, and can thus begin to formulate a plan for dealing with them while waiting for the tournament director to become able to take over. An experienced statperson may be able to handle minor unexpected problems autonomously, and the tournament director may not even know those issues existed until being told after the tournament. A statperson with a good rapport with the tournament director may even be assigned to oversee one section of a tournament while the tournament director concentrates his/her energies elsewhere.

A statperson should not leave his/her room for any protracted period of time, but is in a position to issue orders to other, more mobile staff that can actually do any necessary legwork. This way, the statperson is available to handle any and all issues as they are brought up, while other staff are doing whatever needs to be done to counteract them.


On Day 2 of 2009 ACF Nationals, I was the statperson/tournament director for the second and third brackets, which were taking place in a second building. Because of the way buzzers were distributed, initially not all of the top bracket games had fully working sets, and the affected teams refused to play without buzzers. After the games in progress were finished, Matt Weiner, the tournament director, called me and told me to get buzzers over to the other building. I then asked moderators if they had working sets, and if so, told them to get those sets to specific rooms. One other reader asked whether we should continue with round 2 for the teams waiting. Due to potential issues with question security and keeping the tournament running at the same “pace,” I held off starting round two until the other round one games were done, and had the staffers distribute this information to the teams waiting. In the post-tournament discussion, I fully owned up to this decision, and do not regret making it.


As you can tell, many of my nuggets of wisdom are driven by personal experience and observation. I initially despised being asked to do stats, but came to become quite proficient in doing it, and realized the usefulness of having an experienced statperson working with the tournament director to make sure everything goes smoothly.

  • The statperson is the one member of the tournament staff that interacts with staff from every game room, and thus is in a prime position to serve as the communications hub.
  • The statperson is the only one that knows what is going on throughout the tournament, and can thus make staff-related decisions such as replacing staff or moving them to different rooms.
  • The statperson should play a central role in protest resolution, including gathering initial information from all involved parties, calling the protest director and/or doing Internet research in order to quickly obtain a resolution, and communicating the protest ruling to both teams.
  • The statperson should be ready and able to deal with any unexpected problems that arise during the tournament; combating these problems makes the tournament director’s life easier. A statperson with a good working relationship with the tournament director may operate autonomously and have direct control over one or more brackets of a larger tournament.
  • The position of statperson is what the statperson makes of it. A largely inactive statperson will find the position boring and potentially hinder the tournament, while an active statperson can greatly improve every organizational aspect of the tournament and have fun doing it.

About the Author: Donald Taylor has run statistics for a large number of tournaments, including several run by the University of Illinois as well as the 2009 ACF Nationals and PACE NSC. He is widely regarded as one of the best statpeople in the game.

Audio Quizbowl Studying

Author: Mike Bentley

Level: Beginner

This article was originally published through PACE’s now-defunct Freelance Quizbowl University program.


There are many ways to study and improve at quizbowl. One of the most effective tools I’ve found for getting extra study time out of my day is through listening to audio resources such as audiobooks, audio lectures, podcasts, and more. I’ve been able to “read” a lot more in the past few years than I used to by listening to audiobooks while walking to classes, while driving, at the gym, at work, etc.

This guide will give an overview of:

  • where to find audio resources
  • how to put them on to the device of your choosing
  • how to best employ them for quizbowl

Listening Devices

The most basic tool required in using audio material to study for quizbowl is having a device to play these audio resources on.

CD Player

The simplest way to do this is with a CD player. Any CD player, including the one in your car, should do the job adequately. Ideally you’ll want to obtain a CD player that has decent support for resuming where you last left off. Most cars do this automatically. There are also a small number of audiobooks available as MP3 CDs (these are CDs that are filled with compressed MP3 files to hold more information than a regular CD), so it might be worthwhile to find a CD player that can play these.

MP3 Player

An MP3 player like an iPod can also be used to great effect, although it usually takes a bit more effort. Unless you’re downloading material online, you’ll probably need to rip the CD or DVD to a format your MP3 player can read (specifics on how to do this are covered in a later section). One thing to keep in mind when choosing an MP3 player for listening to audio studying material is that you’ll want to pick a player that has a good “pick up where you left off” feature. For instance, if you’re switching between books and music, is it easy to get back to where you last left off in the book?

Tip for using iPods

If you’re using an iPod, chances are you’ll lose your place if the plug the iPod into the computer or switch what you’re listening to. In order to figure out what you last listened to, plug the iPod into your computer and in iTunes look at the “play count” field for the playlist you’re listening to. The last track you completely listened to should have a “1” next to it. Annoyingly, there’s no way to get this information from the iPod itself.

Tape Player

While the cassette tape hasn’t been a viable medium for commercially released music in well over a decade, many audiobooks are still released on cassette and chances are your local library will only have some of the material you want in this format. There’s also not a very good way of putting the contents of a cassette onto an MP3 player like there is with a CD or DVD. Thus, I suggest trying to find an old Walkman or a stereo system that still plays cassettes. In some ways cassettes are more convenient than CDs or even MP3s, as you’ll always be able to stop and pick up at the exact point you left off later.

DVD Player

Finally, a DVD player can be useful for watching things like the Art Lectures provided by the Teaching Company on DVD. To get the most out of these courses, I find it helpful to take notes like I would if I was in an actual class.

Getting Resources on Your Listening Device

If you’re just using a CD player, then this section is pretty straightforward: just put the CDs in the device! However, if you’re listening with an MP3 player, or want to listen to resources that aren’t available on CD, this is a little more complicated.

Ripping CDs to an MP3 Player

There are lots of programs available that can do this for you. Pretty much any music player (Windows Media Player, iTunes, etc.) has the ability to do this for you. My favorite ripping software is a tool call dBpoweramp, although you have to pay for it. This software lets you burn to MP3s (many other programs only let you burn to proprietary formats), is really fast, and if you also rip a lot of music it has good resources for looking up track information. However, I believe it’s only available on PCs.

What not to do: Automatic Tagging

One thing to take note of when ripping CDs is that it’s quite common for the identifying information for the files you’re ripping to be inaccurate, inconsistent or non-existent. For example, say you’re ripping 20 discs of Moby Dick. It’s quite common for Disc 1 to format all of its tracks with the following title: “Moby Dick – Herman Melville”. Disc 2, meanwhile, might format the tracks like: “Moby Dick – Disc 2 – Track 001”. Disc 3 might have its tracks formatted like “Unknown Artist – Unknown Track”. Thus, if you use the suggested tag information, it will become very hard to find what you’re looking for later and may result in the tracks being played out of order. I suggest that, instead, you turn off all automatic tagging and manually name the files something like “Moby Dick – Disc 01”.

Once you’ve ripped the files to your computer, simply add them to your MP3 player and start listening.

Ripping DVD Audio or Video to an MP3 Player

In order to get this data from a DVD to your MP3 player, I suggest using tools provided by imToo Software (available on both PC and Mac). For around $30 you can purchase either their DVD -> MP3 ripping software or DVD -> iPod Video ripping software. It’s possible that there are some freeware solutions for doing this, but I haven’t personally tried them and can vouch that imToo works pretty well. Once you rip the files to either MP3 or video, simply add them to your MP3 player.

What not to do: Ripping Before Cataloging

The Teaching Company doesn’t do a very good job of labeling the sections of its DVD, and, unlike in the audio lectures, there’s no audio introduction of each lecture. This means you’ll need to do some annoying manual work to properly name the ripped MP3 files. I suggest that you use the imToo software to preview what each lecture number is before you rip it and write down what filename it corresponds to so you can rename the files later. This will help you avoid hearing lectures out of order.

Putting Podcasts on an MP3 Player

This should be very easy. Almost all software meant for connecting an MP3 Player to a computer (e.g. iTunes, Zune Media Center) will support doing this automatically. Just look for the option to “sync” the podcast to your MP3 player automatically.

Putting Computerized Readings of Packets on an MP3 Player

This is the most complicated operation in this section.

Tools Needed for This Operation
  1. A text-to-speech tool. I know this comes built on Macs and I believe you can now enable this on Windows. I’ve personally used the “Speak” feature available in the right-click menu of the Opera web browser to do this, but there should be multiple programs out there that accomplish this task.
  2. A tool to record the sound playing on your computer. Audacity, which is completely free, is a good tool to do this.
Steps to Record a Computer Reading a Quizbowl Match
  1. Download and install the tools listed above.
  2. Find a packet that you want to record the information for.
  3. Do a search and replace for the following lines of text
    1. Replace “ANSWER:” with “5. 4. 3. 2. 1. ANSWER.” This will give you time to think about the answer before it’s read.
    2. Replace any new lines without any text with “3. 2. 1. Next Question.” (you can do this in Word by searching for “^p^p” and replacing it with”^p3. 2. 1. Next Question.^p”). This will add a more natural pause in between questions.
  4. Copy the packet to a .txt file to get rid of all of the extra formatting that might mess up your text-to-speech program.
  5. Start Audacity and create a new recording. You’ll want to set it up to record for around 45 minutes.
  6. Follow this guide to configure setting up Audacity to record the sound coming from your computer.
  7. Start recording.
  8. Input all of your text into your text-to-speech program and start it speaking.
  9. Stop recording when the packet has finished being read.
  10. Save the file as an MP3 file (see http://audacity.sourceforge.net/help/faq?s=install&item=lame-mp3 for instructions on how to do this).
  11. Add this MP3 file to your MP3 player.

Source Material

Now that we’ve covered how to get resources on to your player of choice, let’s talk about the resources themselves.


Audiobooks are one of the key resources available for audio quizbowl studying. If you’ve never listened to an audiobook before, they consist of books read aloud, usually (but not always) by professional narrators. Audiobooks come in two forms – abridged and unabridged. For quizbowl purposes you’ll still get a pretty good summary of the work with an abridged edition.

In general, it takes about 4 hours for a narrator to read 100 pages of a book. Thus, some of the longer books in the quizbowl canon can take over a day of continual listening in order to complete.

How to get Audiobooks

I don’t suggest buying any audiobooks. They’re typically much more expensive than regular books, and you’re probably only going to listen to them once.

Instead, head to your local library (note: I’ve found that school libraries, which tend to be more research oriented, usually don’t have very good audiobook resources). Depending on the size and quality of your library, you should have hundreds to thousands of audiobooks readily available, although only a subset of these will be useful for quizbowl purposes. At first I suggest you just go to the library and search through the selection for books that you’re interested in or have heard come up before in quizbowl. You’ll probably have to sift through a lot of mystery audiobooks, but at first there should be enough new material to fill up your queue for several months. Eventually you’ll want to start viewing the card catalog for specific authors and using resources like holds and inter-library loans to get books not available at your own library. I also suggest you occasionally go to other libraries in your county to find a different selection of audiobooks.

Many libraries also have subscriptions to Overdrive Audiobooks. These are DRM protected audiobooks that you can download for a few weeks and listen to. They’ve recently added support for the iPod and also support “Plays for Sure” devices, so chances are your MP3 player will work with these files. It’s generally easier for search for quizbowl-friendly works on this site than on your library.

In addition to the library, you should check out http://www.librivox.org. This site offers free audiobooks for works in the public domain. One of the benefits of this site is that almost all of the books on here are useful for quizbowl purposes. Additionally, it tends to have a better non-fiction selection than any other resource. The downside here is that the people making the recordings are amateurs. The sound quality is always going to be worse on a LibriVox recording than a professional recording, sometimes to the point of making them unlistenable. Also, the narrators are usually worse than professional narrators, meaning they’ll stumble more, have more annoying ticks with their diction, etc.

If you are willing to pay for audiobooks, online options are probably your best bet. Sites like Audible and eMusic let you download one audiobook for around $10 a month. These sites will tend to have a better selection than your local library, and will also have the books categorized a lot better (for instance, it’ll be a lot easier to find “classics” on these sites than at your library). Another option is Simply Audiobooks, which is essentially Netflix meets Audiobooks. For around $15 a month you can get one audiobook at a time. This site probably has the best selection around, but is more expensive than the other options.

Studying a Specific Subject Using Audiobooks

The two subjects that are the easiest to study through audiobooks are literature and history. Specifically, you can easily find a host of audio recordings of classic novels, biographies of U.S. Presidents and so forth. It’s a little more difficult to find resources for poetry, drama and short stories, but especially famous examples of these genres are available (e.g. Shakespeare plays, Fitzgerald short stories, etc.).

Other subjects are a little more difficult to find good material for, but if you’re inventive you should be able to find some resources. Here are some starting places for particular subjects of quizbowl interest. Note that this list doesn’t mention Audio Course Lectures (described below), which are probably your best source for studying outside of history and literature.

  • Science
    • Stephen Hawking’s two major books are available in audiobook form.
    • Biographies of famous scientific figures like Einstein and Newton can be easily found.
    • Richard Feynman recorded a series of lectures that cover a broad array of physics topics.
    • Lots of “history of science” works are available.
  • Religion
    • All of the Bible is extensively available on audiobook.
    • You should probably also be able to find commentaries on Judeo-Christian texts.
    • There are several histories of early Islam available.
    • Richard Dawkins has most of his stuff on audiobooks, if you want to count that as religion.
  • Mythology
    • Greco-Roman myth is well covered with audio recordings of books like The Odyssey.
    • It’s also possible to find “fairy tales” that cross-reference things like Norse mythology.
    • You should able to find a lot of books that cover Arthurian myth.
    • You might be able to glean some information from the more academically based fantasy works that are often available on audiobook.
  • Philosophy
    • Many of the more famous Platonic Dialogues are available in audio form.
    • Some Nietzsche works (e.g. Thus Spoke Zarathustra) are available in audio form.
    • Librivox has a better selection than most places when it comes to philosophical works.
    • I personally find philosophy a bit hard to follow in audio form, but your mileage may vary.
  • Social Science
    • Some popular non-fiction (e.g. Guns, Germs and Steel) can be found in audiobook form.
    • Contemporary, popular economic texts are available in audiobook form.
  • Current Events
    • Lots of political works (e.g. The Secret History of the United States, most memoirs of politicians, attacks on either Democrats or Republicans) are available on audiobook.
    • Bob Woodward has several of his “modern history” works available on audio.
  • Geography
    • Works like “My Invented Country” by Isabel Allende (describing the culture of Chile) and “Death in the Afternoon” by Ernest Hemingway (describing the culture of Spain) are available in audio format.
    • It’s probable that travel guides are also available in audio format, but I haven’t looked specifically for these.
  • Arts
    • Biographies of famous figures like Da Vinci and Beethoven are readily available.
    • While they are not necessarily audiobooks, audio recordings of classical music, opera, and jazz can often be found in the same or a nearby section of the library.

Audio Course Lectures

Audio Course Lectures are an ideal way to study quizbowl. The two main sources for audio lectures are courses released by The Teaching Company and The Modern Scholar. In general, lectures from the Teaching Company tend to be more in-depth and they offer a wide range of courses, although there is some interesting stuff in the Modern Scholar. Both of these companies also offer course books which can be useful to review the material. They’re also decent sources to write questions from.

Like regular audiobooks, these courses are pretty expensive to buy. Your local library should already have a wide selection of these courses. See the audiobook section for more information on how to obtain materials like this.

There are also several recordings of courses online. I’m generally not a fan of these courses, as they usually weren’t designed to be presented to someone listening on their MP3 player, meaning that the production value is low, there’s extraneous overhead (“remember to study for the test next week”), and the professors are less engaging. If you do want to explore these, MIT offers several courses online, and browsing the “educational” podcasts in a place like the iTunes Podcast Directory are a good place to find them.

If I’m at a computer while listening to course lectures, I find it helpful to take notes. Writing down the details of a lecture can help you remember it more, and also provides you some useful information when writing questions.

The following are some good history courses I’ve listened to:

  1. Byzantine Empire – Modern Scholar
  2. History of the Crusades – The Teaching Company
  3. Famous Greeks – The Teaching Company
  4. Emperors of Rome – The Teaching Company
  5. American Civil War – The Teaching Company
  6. History of the Supreme Court – The Teaching Company
  7. The Supreme Court – Modern Scholar
  8. Americas in the Revolutionary Age – The Teaching Company
  9. From Yao to Mao – The Teaching Company
  10. History of England from the Tudors to the Stuarts – The Teaching Company
  11. Victorian Britain – The Teaching Company

I’d suggest avoiding these history courses:

  1. Tocqueville and the American Experiment – The Teaching Company
  2. European History and European Lives – The Teaching Company
  3. Civil Liberties and the Bill of Rights – The Teaching Company

Misc. Video Resources

Sometimes a particular source is only available in video format. For instance, most of the art lectures put out through the Teaching Company are only released on DVD. Also, some libraries will have a better selection of regular Teaching Company courses on DVD than on CD. Other resources sometimes only available on video include recordings of plays and operas.

In general, you won’t miss anything in most Teaching Company lectures by only listening to audio. The art lectures are the only ones I’ve found so far where having images is very important.

Podcasts of Quizbowl Games

There are two main sources for podcasts of quizbowl games. NAQT has podcasts of many of the recent HSNCTs and ICTs available at their website at http://www.naqt.com/podcasts/. You can also find a lot of recordings of various collegiate and some high school tournaments at http://www.qbwiki.com/wiki/Quizbowl_Cast.

These podcasts are often fun to listen to, but sometimes it’s difficult to hear things like answers to questions. Additionally, if you’re listening to matches between high level teams, you might not hear enough clues to really learn about a subject.

Computerized Readings of Quizbowl Packets

Having the computer read quizbowl matches can be a very effective way to practice on questions when you don’t have other people around to read them to you. For more details on how to do this, see the section on “Putting Computerized Readings of Packets on an MP3 Player” in the Getting Resources on Your Listening Device section.

These recordings have advantages and disadvantages over actual recordings of quizbowl matches. The main advantage is that you get to hear the entire question. Also, all words will be at a uniform volume. The disadvantage is that the computer isn’t very good at pronouncing some words, so you’ll sometimes miss important clues or won’t be able to decipher an answer.

Conceivably you could also record yourself reading a packet to no one and listen to that later. This would avoid the problem of not being able to figure out what the computer’s saying.

Misc. Audio Resources

Subscribing to various podcasts from NPR and other news organizations can help you stay abreast of current events.


  • Audio resources are an overlooked and underappreciated way to study for quizbowl, and can be used in many situations where other resources cannot.
  • Almost any listening device can be used to study for quizbowl. Resources in CD form are often the easiest to use, though with some effort it is also possible to use MP3 players, tape players, or DVD players.
  • Audio resources that can be used to study for quizbowl include computer-read packets, audiobooks, recordings of lectures, and recordings of quizbowl games.
  • Making and studying your own audio resources, such as recordings of packets or actual games, can provide great benefit for relatively little effort.

About the Author: Mike Bentley attended the University of Maryland where he got his degree in Computer Science and History. After leaving the Maryland Academic Quiz Team, Mike moved to Seattle where he now helps out with quizbowl teams at the University of Washington and Bellevue College. Mike frequently listens to audiobooks and also records the Quizbowl Cast, a podcast of Quizbowl matches.