Podcasts about maestra

05 10-06-26 LHDW El lío entre R.Madrid-Julián Álvarez y Atlético. ¿Una maniobra maestra de Florentino?. Vlahovic, para mí el siguiente fichaje del R.Madrid

05 10-06-26 LHDW El lío entre R.Madrid-Julián Álvarez y Atlético. ¿Una maniobra maestra de Florentino?. Vlahovic, para mí el siguiente fichaje del R.Madrid

La alianza beneficiará a asociados, docentes y sus familias con descuentos en cursos, idiomas, postítulos y especializaciones. Las 22 filiales de la mutual permitirán llegar a cada rincón de Santa Fe.

5158 visualizaciones 5 jun 2026 #Red31NetworkSomos una casa productora de Podcast enfocados en temas de actualidad, con el propósito de llevar contenido de calidad que activen todos tus sentidos. Síguenos en las redes y descubre todo lo que tenemos para tí:Instagram: @FaiaMediaTwitter: @FaiaMediaTikTok: @FaiaMediaFacebook: FaiaMedia#Red31Network (Derechos Reservados 2025)Conviértete en miembro de este canal para disfrutar de ventajas:   / @faiamedia  

The Tony Awards often celebrate the names on a show poster, but every Broadway production is carried by countless artists whose work rarely fits neatly into a category. So in anticipation of this year's awards ceremony, we're spotlighting a few of the performers, collaborators, and creative forces behind nominated productions. Beth Callen follows her curiosity wherever the music leads. A multi-instrumentalist, songwriter, and educator, she has traveled from indie folk stages and an all-female Guns N' Roses tribute band to some of Broadway's most acclaimed productions, including Head Over Heels, A Strange Loop, Suffs, and now The Lost Boys.  In this episode, Beth discusses the realities of building a career as a working musician; why mentorship matters for the next generation of artists; and how greater visibility for pit musicians can deepen our appreciation for the live magic that happens eight times a week on Broadway.   Links Beth Callen: https://bethcallen.com/ The Lost Boys: https://www.lostboysmusical.com/ Maestra: https://maestramusic.org/

Analizamos la agresión sufrida por una maestra jubilada de 68 años durante las protestas de la comunidad educativa en Valencia, en el marco de la huelga por la mejora de la educación pública. Repasamos las imágenes que han provocado una enorme indignación social, las reacciones políticas y sindicales, la defensa realizada por algunos sindicatos policiales y tertulianos, así como el debate sobre el derecho a la protesta, la actuación de las fuerzas de seguridad y la situación de la enseñanza pública. También abordamos las movilizaciones en defensa de los servicios públicos y las reivindicaciones de docentes y trabajadores frente a las políticas de recortes y privatización. Mas vídeos de Pandemia Digital: https://www.youtube.com/c/PandemiaDigital1 Si quieres comprar buen aceite de primera prensada, sin intermediarios y ayudar de esa forma a los agricultores con salarios justos tenemos un código de promoción para ti: https://12coop.com/cupon/pandemiadigital/ Este video puede contener temas sensibles, así como discursos de odi*, ac*so, o discr*minación. El objetivo de abordar estos temas es exclusivamente informativo y busca concienciar a la audiencia sobre estos acontecimientos, y denunciar y señalar el origen de los mismos para crear consciencia y evitar su propagación. Si consideras que el contenido puede afectarte, te recomendamos proceder con precaución o evitar su visualización. ----------------------------------------------------------------------------------------------- Únete a nuestra comunidad de YouTube https://www.youtube.com/channel/UCFOwGZY-NTnctghtlHkj8BA/join Se mecenas de Patreon https://www.patreon.com/PandemiaDigital ----------------------------------------------------------------------------------------------- Súmate a la comunidad en Twitch - En vivo de Lunes a Jueves: https://www.twitch.tv/pandemiadigital Sigue nuestro Canal de Telegram: https://t.me/PandemiaDigital Suscríbete en nuestra web: https://PandemiaDigital.net Sigue nuestras redes: Twitter: https://twitter.com/PandemiaDigitaI Facebook: https://www.facebook.com/PandemiaDigitalObservatorio Instagram: https://www.instagram.com/pandemia_digital_twitch TikTok: https://www.tiktok.com/@pandemiadigital #PandemiaDigital

Coches con ingeniería de verdad (y que no pierden valor). ¡Basta de electrodomésticos con ruedas! En un mercado de 2026 dominado por precios inflados y normativas asfixiantes como la Euro 7, todavía existen "islas de cordura" mecánica. Hoy rompemos nuestra tónica habitual de denuncia para ser positivos: existen coches que valen lo que cuestan. Una "compra maestra" no es simplemente el coche más barato del concesionario. Es aquel donde el valor de la ingeniería supera el coste de adquisición; coches que dentro de una década seguirán siendo fiables y mantendrán un valor de reventa envidiable. Los Utilitarios Indestructibles 1. Dacia Sandero (ECO-G 120 CV): El coche inteligente por excelencia. Gracias al GLP, ofrece el coste por kilómetro más bajo del mercado térmico con una robustez mecánica a prueba de bombas. 2. Suzuki Swift (Mild Hybrid): Una lección de física con solo 920 kg de peso. Al ser ligero, no necesita motores gigantes ni frenos sobredimensionados para ser ágil y eficiente. 3. Renault Captur (E-Tech 160): El equilibrio perfecto. Su caja de cambios sin embrague, inspirada en la F1, lo convierte en un SUV compacto sorprendentemente eficiente. Compactos y berlinas de lógica aplastante 4. Mazda 3 (e-Skyactiv X): La resistencia contra la obsolescencia. Su motor de encendido por compresión es una joya técnica que combina lo mejor del gasolina y el diésel en un chasis construido para durar décadas. 5. Toyota Corolla (200H): La apuesta más segura. Su transmisión e-CVT es el mecanismo más fiable del mundo: sin embragues ni correas. Es el coche para olvidarse de las averías. 6. Skoda Octavia (1.5 TSI mHEV): El rey del sentido común. Más espacio que muchas berlinas de lujo y una eficiencia de combustible asombrosa gracias a la desconexión de cilindros. SUV con sentido mecánico 7. Honda HR-V (e:HEV): Máquina de precisión donde el motor de gasolina trabaja principalmente como generador. Fiabilidad Honda en estado puro. 8. Kia Sportage (HEV 230 CV): Un producto redondo con una garantía de 7 años que sigue siendo el estándar de tranquilidad en 2026. 9. Renault Austral (E-Tech 200 CV): Destaca por su sistema de cuatro ruedas directrices (4Control), que le otorga una agilidad de coche urbano en un cuerpo de SUV familiar. El Oasis Eléctrico 10. Renault 5 E-Tech: Ligero, divertido y con alma. Demuestra que la movilidad eléctrica no tiene por qué ser aburrida. 11. Suzuki eVitara: La entrada de Suzuki en el eléctrico puro manteniendo su herencia 4x4 y su legendaria honestidad mecánica. Caprichos que son una inversión 12. Alpine A290: El "hot-hatch" eléctrico definitivo. Un juguete con puesta a punto de Alpine y valor de colección asegurado. 13. Mazda MX-5 (2.0 184 CV): El último roadster analógico. Comprar uno hoy es proteger tu patrimonio; su devaluación es prácticamente inexistente. 14. Toyota GR Yaris: Un coche de rallyes con matrícula. Exclusividad técnica que valdrá mucho más en el futuro de lo que cuesta hoy. 15. Suzuki Jimny (Mild Hybrid): El pequeño gigante regresa. Indestructible, icónico y con un valor de reventa que nunca cae. Conclusión Comprar un coche en 2026 requiere valentía, pero elegir basándose en la ingeniería y no solo en las pantallas es la clave. Buscad la ligereza, la mecánica probada y marcas que aún respetan al conductor. Porque al final, lo que importa no es lo que brilla en el catálogo, sino lo que resiste el paso del tiempo.

#Live del 28/05/26

Cada 28 de mayo se conmemora el Día Internacional de la Higiene Menstrual, una fecha impulsada para visibilizar la importancia de la salud menstrual y romper los estigmas que aún existen alrededor de la menstruación. La menstruación es un proceso natural del cuerpo y también un indicador importante de salud. Sin embargo, millones de niñas, adolescentes y mujeres enfrentan barreras para acceder a información, productos de higiene y espacios seguros para gestionar su periodo de manera digna. En este podcast de El Expresso de las 10 la Dra. Mariana Rivas Paz médica con especialidad en Ginecología y Obstetricia y subespecialidad en Urología Ginecológica. Educadora en Sexualidad por el Colegio Mexicano de Sexología y Educación Sexual, Maestra en Educación sexual y Terapia de Pareja, nos ayuda a resignificar el ciclo menstrual para eliminar el estigma y promover la educación sobre el cuerpo.

#patabajoelpodcast Únete a nuestro Discord: https://discord.gg/gbUbSFf4Sigue a Pastelillo Podcast: https://youtube.com/@PastelilloPodcast?si=PMPNhJhW6140xZPNMuchas gracias por sintonizar. ¡no olvides suscribirte a nuestro canal para más contenido! ¡Únete a Patabajo Mafia! https://linktr.ee/patabajoelpodcastKick de Darwin: https://kick.com/darwintvvCanal de Erick Pereles: https://www.youtube.com/@UCXyvn8hJCaa699faFBv0RPA Twitch de Víctor: https://twitch.tv/vicflowtv_Búscanos en Spotify: https://open.spotify.com/show/21saOhhqedeUfdWy3T0YY0Apple Podcast: https://podcasts.apple.com/us/podcast/patabajo-el-podcast/id15703349310:00 - Preview0:22 - Podcast Intro 2:18 - Donaciones7:00 - Noticias39:31 - Gaming54:27 - Series y Películas1:03:02 - Caso de True Crime Learn more about your ad choices. Visit megaphone.fm/adchoices

Muy buenas queridos oyentes. Volvemos a la actividad hablando de los estrenos más sugerentes (Juagda maestra, Hokum....), recuperaremos a Alberto Jones que se adentrará nuevamente en la jungla amazónica enfrentándose a una nueva bestia, analizaremos la serie Scarpetta con Nicole Kidman y Jamie Lee Curtis y repasaremos los Oscars de 1992 (películas de 1991).

- Oye, he visto esa peli de Glen Powell en la que se disfraza. - Ah, ¿"Hitman. Asesino por casualidad"? - No, la otra. - Ah, ¿"Running Man"? - No... - Ah, querrás decir serie, no peli. "Chad Powers", ¿verdad? - No... He visto #JugadaMaestra ¡Escuchad y opinad, Amig@s! También nos podéis encontrar aquí: Spotify: https://open.spotify.com/show/52i1iqZ56ACal18GPkCxiW Apple Podcasts: https://podcasts.apple.com/es/podcast/los-tres-amigos/id1198252523 Youtube: https://www.youtube.com/channel/UC3zK2XsnpHDGRujSTWHpL8Q Amazon Music: https://music.amazon.com/podcasts/e0b56d4f-4537-47e0-a252-9dfe56b5a490/los-tres-amigos Grupo de Telegram: https://t.me/LosTresAmigos https://www.facebook.com/LosTresAmigosPodcast Instagram: lostresamigospodcast Bluesky: @los3amigospodcast.bsky.social X / Twitter: @tresamigospod Threads: lostresamigospodcast Letterbox: https://letterboxd.com/LosTresAmigos/ #OchoSentenciasDeMuerte #ComediaNegra #Thriller #A24 #Crimen #Familia #Herencia #CasiMangoBiopic #Remake

Esta semana venimos cargados de principios Arrancamos con el principio de reclamar lo que nos pertenece por cualquier medio, aunque este sea matando a tu familia. Lo hace Glen Powell en “Jugada Maestra” donde tendrá que asesinar a su familia para obtener su herencia. El siguiente principio es el del folklore rural, algo que parece estar perdiéndose en un pueblo de Irlanda donde ya ni te dejan disparar a las cabras que se suben a los coches. Un folklore peculiar al que llega nuestro protagonista, un escritor en crisis, en Hokum. De este principio al de tener nuestro ángel guardián aunque éste sea más perdedor que nosotros. Le pasa a Aziz ansari en su debut en la dirección cinematográfica en “Movida Celestial” donde probará las mieles celestiales de ser millonario… para no querer abandonarlas después. Terminamos con el principio a defender nuestros derechos en “El beso de la mujer Araña” en la nueva adaptación musical de la cinta clásica. Un principio ahora convertido en JLO bailando por el escenario. Todo ello, como siempre, sin spoilers. Únete a nuestro grupo de Telegram: https://t.me/PodcastEnSerio Y estamos en Twitter: https://twitter.com/PodcastEnSerio ⌨️Correo: ivodelgadorivero@gmail.com Instagram: https://www.instagram.com/criticoenserio/?hl=en-gb

Juanma González analiza los estrenos de la semana de hoy: Jugada maestra, Movida celestial y El beso de la mujer araña. ¡No te lo pierdas!

Con la edición más española y prometedora de Cannes ya en marcha, ponemos el foco en el desembarco estadounidense de alto voltaje que acaba de llegar a las salas, con la acción y el humor comercial repartiéndose los títulos más llamativos. Desde la adrenalina de "Jugada Maestra" con Glenn Powell hasta la simpática propuesta de "Movida Celestial", protagonizada por un Keanu Reeves que sorprende en la piel de un ángel caído. El programa disecciona las claves de los estrenos más esperados. No falta el espacio para las sensaciones fuertes con el terror perturbador de "Hokum", una cinta irlandesa dispuesta a sacudir los cimientos del género y a no dejar indiferente a ningún espectador que se atreva a cruzar el umbral de las salas este fin de semana. El broche de oro llega a través de la excelencia musical y emocional del Estudio Ghibli, gran protagonista tras el anuncio de los Premios Princesa de Asturias. Ángel Luque nos guía por el universo creativo de Hayao Miyazaki y el compositor Joe Hisaishi, un binomio que ha elevado la animación a la categoría de arte universal. A través de melodías que evocan castillos ambulantes y espíritus del bosque, el podcast rinde homenaje a una trayectoria que conecta valores humanos y fantasía desbordante, reafirmando que el cine, más allá de las pantallas, es una experiencia sonora y cultural que sigue emocionando a generaciones enteras.

'Jugada maestra', 'Pizza Movies', 'Hokum', 'El amigo inesperado', 'The Punisher: One Last Kill', 'Marty: Life is Short', 'El choque', 'Berlín y la dama de armiño', 'The Lady' i 'El caso de Laura Stern'

Luis Herrero analiza con Juanma González y Dani Palacios los estrenos de la semana.

Destacamos los estrenos más interesantes de esta semana. Tanto en cines como en plataformas. Por si no os queréis quitar el pijama. ¡Escuchad y opinad, Amig@s! También nos podéis encontrar aquí: Spotify: https://open.spotify.com/show/52i1iqZ56ACal18GPkCxiW Apple Podcasts: https://podcasts.apple.com/es/podcast/los-tres-amigos/id1198252523 Youtube: https://www.youtube.com/channel/UC3zK2XsnpHDGRujSTWHpL8Q Amazon Music: https://music.amazon.com/podcasts/e0b56d4f-4537-47e0-a252-9dfe56b5a490/los-tres-amigos Grupo de Telegram: https://t.me/LosTresAmigos https://www.facebook.com/LosTresAmigosPodcast/ Instagram: lostresamigospodcast Bluesky: @los3amigospodcast.bsky.social X / Twitter: @tresamigospod Threads: lostresamigospodcast Letterbox: https://letterboxd.com/LosTresAmigos/ #Hokum #MovidaCelestial #JugadaMaestra #ElBesoDeLaMujerAraña #IronMaiden #BurningAmbition #TopGun #Maverick #Disney #ThePunisher #OneLastKill #Movistar #BalaPerdida #SkyShowtime #BlackPhone2 #Filmin #LaHijaPequeña

#ClaudiaSheinbaum | Día de la Maestra y el Maestro. CDMX

¡¡NUEVO PODCAST!!-Cuauhtli Arau.  Psicoterapeuta experto en Desarrollo Humano… “Los lentes que todos usamos”  -Maestra Luz Calderón… “Eventos astronómicos de Mayo”  -Iconic Beauty Experts… Fernanda Rangel y  Ivonne Martínez… “Las novias de mayo”  

Oraciones a María, día 12; Reina de Apóstoles Virgen María, maestra soberana, Tú eres la que congrega Los videos se encuentran en www.magnificat.tv Cuenta Oficial de los Franciscanos de María - Misioneros del Agradecimiento. Canales de comunicación: - Sitio web: www.magnificat.tv - Facebook: bit.ly/FacebookMagnificatTV y bit.ly/FacebookFranciscanosMaria - YouTube: bit.ly/YouTubeMagnificatTV - Twitter: twitter.com/MagnificatTV - Telegram: t.me/FranciscanosDeMaria_esp - Instagram: bit.ly/InstagramMagnificatTV - Podcast en Ivoox: bit.ly/AudiosMagnificatTV - Apple Podcast: bit.ly/AppleMagnificatTV - Google Podcast: bit.ly/GooglePodcastMagnificatTV - Spotify: bit.ly/SpotifyMagnificatTV - Amazon Music: bit.ly/ —AmazonMusicMagnificatTV

Educadora, líder comunitaria y defensora de la educación para personas inmigrantes y familias latinas en el estado de Washington. Originaria de Ensenada, Alma estudio Informática en Mexico y ha dedicado gran parte de su vida profesional a abrir oportunidades educativas para la comunidad latina inmigrante.Actualmente trabaja en programas de educación para adultos y preparación académica en Renton Technical College, apoyando a personas que desean terminar la preparatoria, continúan estudios universitarios y construir nuevas oportunidades profesionales. También se ha desempeñado como interprete medica bilingüe y profesora de Highline College.Mucha gente de la comunidad latina ha recibido el apoyo y la inspiración de la Maestra Alma

El P. Félix López, SHM, en este podcast de «Cómo van a creer», nos dice como la Virgen María además de ser Madre Nuestra también es Maestra que nos educa y enseña. 

Meditaciones predicadas por varios sacerdotes con motivo de algún evento o festividad y que han sido seleccionadas para su aprovechamiento por el público en general. Habitualmente han sido predicadas en un entorno sagrado y dirigidas a cristianos que desean profundizar en su vida interior de relación con Dios.

Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/relatos-del-lado-oscuro--5421502/support.#relatos de misterio #relatos de terror #historias de miedo #asesinos #terror parapsicológio #joseramoncantalapiedra

¿Alguna vez te has sentido frustrado al positivar un negativo con un contraste imposible? ¿Esa toma perfecta donde las luces terminan "quemadas" o los negros quedan lavados y sin fuerza?. En este episodio, desglosamos la técnica definitiva para retomar el control absoluto de tus copias: el positivado por contraste dividido (Split Grade).Exploramos la ciencia detrás del papel de contraste variable y cómo sus capas de emulsión reaccionan de forma única a la luz azul y verde. Te guiaremos paso a paso por el método de las dos tiras de prueba:Filtro 00: Para rescatar texturas delicadas en nubes o tonos de piel.Filtro 5: Para inyectar profundidad y unos negros sólidos y potentes.Por qué una sola exposición es, a menudo, un sacrificio constante.La "magia" de la doble personalidad del papel multigrado.Cómo realizar ajustes independientes en luces y sombras sin afectar al resto de la imagen.El debate final: ¿Vale la pena el esfuerzo extra de tiempo y material?.Además, analizamos cómo esta técnica se alinea con el Sistema de Zonas de Ansel Adams y por qué referentes como Steve Onions la consideran una herramienta creativa de primer nivel para lograr una profundidad casi tridimensional en el papel.Lo que aprenderás en este audio:Si quieres dejar de pelear con tus negativos y empezar a imprimir con intención artística, este episodio es tu hoja de ruta hacia la copia perfecta.

Meditación predicada para el retiro mensual de mayo de 2026 publicado en la web del Opus Dei. Photo by Josh Applegate on Unsplash

¿Quién fue realmente La Malinche? Javier Ibarra rompe los mitos sobre Malintzin en W Radio. Descubre por qué no fue traidora, sino la estratega que cambió la historia de México.

¿Cómo se sobrevive a la experiencia de ver trascender a un bebé? ¿Cómo se puede continuar la vida con un dolor tan agudo en el alma? Después de 10 años de vivir y muchas veces sobrevivir este duelo, encontrarás en este episodio la perspectiva que milagrosamente ha transformado mi vida y la de muchos padres celestiales. Ante el inevitable dolor que nos arrasa y una vida que nos exige continuar con todos los retos que la componen, surge una llave que da acceso a un mundo sagrado del alma, en donde lo que no vemos es lo que realmente existe y lo que percibimos con los sentidos es mera ilusión. ¿Es posible iniciarnos en este camino y encontrar un sentido despúes de su nacer al cielo? Descubrirás una respuesta que bañará tu corazón de esperanza y de certeza, porque lo que escucharás es de hecho, lo que sabes desde que tu bebé llegó a ti. Recuerda que fuiste elegida, que eres madre y que tu bebé te ama. Lista de Espera 2Gen Diplomado en Coaching para Duelo Gestacional www.madresfenix.com/dipg2 ¿Quieres unirte a mi membresía mensual Soy Fénix?   Inscríbete aquí: www.madresfenix.com/soyfenix   ¿Quieres prepararte para tu embarazo arcoíris?   Inscríbete aquí: www.madresfenix.com/soyarcoiris   ¿Deseas adquirir mi libro Mi bebé nació al cielo?   Entra aquí: www.madresfenix.com/libro   ¿Quieres información de mis cursos y sesiones?   Visita: www.madresfenix.com  

Tiene 88 años y sigue dando el callo por los demás. Maestra rural, Pilar Nohales fue acusada de comunista por el cura del pueblo por apuntarse al Movimiento Rural Cristiano. En una especie de autoexilio, recaló en la Barcelona efervescente de la Transición donde aprendió nuevas técnicas pedagógicas. Pero como su vocación siempre fue el mundo rural, volvió a La Manchuela para enseñar donde más la necesitaban. Y un día, un grupo de republicanos con bastón la buscó para que se presentara con ellos a las elecciones municipales. Así entró en política. Su padre, conservador, había sido alcalde antes de la Guerra Civil. Ella, progresista, sería alcaldesa de Casas Ibáñez durante 16 años. Y pese a los sinsabores de una vida de servicio público, nos admira que Pilar haya llegado a los 88 años sin rencores, con las ilusiones intactas y con la firme convicción de que "la política es una forma privilegiada de amor".

Aprendiendo a esperar Por: Maestra TG Isaías 40:31 (NTV). Esperar es una de las partes más difíciles de nuestra fe. Amamos las promesas de Dios, pero luchamos con el tiempo en que llegan. Santiago 1:2–4 (NTV). Debemos entender que esperar no es castigo, es preparación; es proceso. La pregunta no es: «¿Responderá Dios?», sino: «¿Cómo vamos a esperar?» I. Esperar es parte del proceso de Dios, no su ausencia. Habacuc 2:3 (NTV). El retraso no significa rechazo.Recordemos que Dios siempre está obrando, incluso cuando no vemos nada suceder. El silencio de Dios no es inactividad de Él. II. La fe es confiar en Dios cuando la respuesta aún no ha llegado. Hebreos 11:1 (NTV). Debemos permanecer seguros, confiados y firmes mientras esperamos. Romanos 8:25 (NTV). La fe no se prueba después de la respuesta, sino durante la espera. Esperar fortalece músculos espirituales que no desarrollaríamos de otra manera. III. El gozo es una decisión que tomamos mientras esperamos. Filipenses 4:4–7 (NTV). El gozo no depende de las circunstancias; se basa en la confianza en Dios. El enemigo quiere robar tu gozo durante la espera. Mientras esperamos podemos seguir adorando y regocijarnos. Esperar no cancela el gozo; el gozo sostiene y fortalece nuestra espera. IV. La oración nos mantiene anclados mientras esperamos. Hebreos 6:19 (NTV). La oración cambia nuestro enfoque: del problema al dador de promesas. Ora constantemente, no con ansiedad. Ora con expectativa, no con desesperación. Juan 14:27 (NTV). Puede que Dios no cambie la situación de inmediato, pero nos dará paz. La paz es, muchas veces, la primera respuesta de Dios mientras esperamos la final. Isaías 40:31 (NTV). Esperar en Dios es confianza activa, no resignación pasiva. En ese tiempo Dios renueva nuestras fuerzas, no solo resuelve problemas. Las temporadas de espera producen madurez profunda y una fe más fuerte. El tiempo de Dios es perfecto, incluso cuando parece difícil esperar. Ese tiempo no es perdido cuando se vive con fe y gozo, y el resultado final siempre será para Su gloria. Números 23:19. La esperanza es aguardar con la seguridad que si Dios hizo la promesa, Él la cumplirá. Espera con esperanza. Espera con alabanza. Espera con confianza. Lo que Dios está formando en ti mientras esperas siempre será más grande que aquello que estás esperando. La entrada Aprendiendo a esperar – Maestra TG se publicó primero en Comunidad de Fe.

Hoy en día está muy mal visto que una maestra se meta con un alumno, tras de ser moralmente discutible, puede ser ilegal si el alumno es menor de edad. Sin embargo, debes escuchar la historia de un alumno suertudo que no solo se metió con una, sino con dos maestras al mismo tiempo y terminó de la peor manera para él. Mantente al día con los últimos de 'El Bueno, la Mala y el Feo'. ¡Suscríbete para no perderte ningún episodio!Ayúdanos a crecer dejándonos un review ¡Tu opinión es muy importante para nosotros!¿Conoces a alguien que amaría este episodio? ¡Compárteselo por WhatsApp, por texto, por Facebook, y ayúdanos a correr la voz!Escúchanos en Uforia App, Apple Podcasts, Spotify, y el canal de YouTube de Uforia Podcasts, o donde sea que escuchas tus podcasts.'El Bueno, la Mala y el Feo' es un podcast de Uforia Podcasts, la plataforma de audio de TelevisaUnivision.

¿Es internet un territorio sin ley? El acoso digital destruye vidas, pero la justicia está evolucionando. Hoy nos acompaña la Mtra. Macarita Nader, Maestra en Derecho con especialidad en Ciberderecho y Derecho Sanitario. Vamos a analizarqué herramientas legales tenemos hoy, la importancia de la Ley Olimpia, los alcances de la Ley Valeria y qué lecciones nos deja el caso de la Tía Paty en Monterrey. Prepárate para una cátedra de derecho aplicado a la vida digital. Bienvenidos a Tipo y así Podcast ¡Comenzamos!

«El Huésped de la Maestra» es uno de los relatos más impactantes y memorables de la colección "Cuentos de Eva Luna" (1989). En esta obra, Isabel Allende despliega su maestría para mezclar la cotidianidad de un pueblo rural con la brutalidad de la justicia poética. La historia se centra en Inés, la respetada maestra de un pequeño pueblo llamado Agua Santa. Su vida parece tranquila hasta que llega al pueblo un forastero que se instala en su hostal. Lo que nadie sabe (excepto Inés) es que este hombre fue el responsable de la muerte de su hijo años atrás, un acto de violencia gratuita que quedó impune. Lejos de buscar una confrontación pública o legal, Inés ejecuta un plan meticuloso, frío y silencioso para cobrar la deuda de la única forma que considera definitiva. Música y Ambientación: Dark Piano - Lucas King Remixed by JMT Blog del Podcast: https://lanebulosaeclectica.blogspot.com/ Twitter: @jomategu

Lo que vimos en la última NVIDIA GTC no fue solo un lanzamiento tecnológico, fue una declaración de ambición. NVIDIA está construyendo las “fábricas” donde se va a producir la inteligencia artificial del futuro. Desde Blackwell hasta alianzas con gigantes como Microsoft, Amazon y Google, exploramos si esta apuesta es el inicio de una nueva era… o un riesgo que el mercado aún no dimensiona.

Manuel Silva, Natalia Moretti y Samuel Rodríguez reciben a Doriann Márquez para hablar de uno de los momentos más cinematográficos de nuestra historia: La Batalla de Las Queseras del Medio. Desmenuzamos la genialidad táctica de José Antonio Páez y ese grito legendario de "¡Vuelvan Caras!" que dejó a los realistas viendo un chispero. ¿Fue suerte, pura viveza criolla o estrategia militar pura? Doriann nos da todo el contexto de esta épica persecución. Pero como todo buen venezolano sabe, no hay batalla más encarnizada que la que se libra cuando se rompe una piñata. Bajamos las armas y nos ponemos nostálgicos para debatir sobre los dulces de las fiestas infantiles. ¿Cuáles eran esas chucherías por las que valía la pena tirarse al piso y cuáles eran las que siempre se quedaban olvidadas en la bolsita?

La recomendación del día es la película “Jugada Maestra”.

En entrevista para MVS Noticias con Daniel Guerra, en ausencia de Ana Francisca Vega, Leonardo Núñez, director de Investigación Aplicada de MCCI (Mexicanos Contra la Corrupción y la Impunidad) y autor del blog, explicó a detalle el caso de 17 aviones presidenciales o 337 casas blancas en una sola empresa del huachicol fiscal.See omnystudio.com/listener for privacy information.

¡¡NUEVO PODCAST!!*Nancy Vargas Gama. Maestra en Psicología… ¿Cómo cuidar la salud mental en las vacaciones?     *CARTELERA CINEMATOGRÁFICA. José Antonio Valdés Peña. Crítico de Cine.   *Soprano  Karla Lazo… “Protagonista del cómic “Caroline Baldwin” (es la primera vez que se realiza un cómic musicalizado.)

"Plan B" de Sheinbaum avanza en comisiones del Senado, hoy es día clave; alumno mata a dos maestras en prepa de Michoacán; anuncian cierres alrededor del Estadio Azteca para el México-Portugal.

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

Josefina Aldecoa (La Robla, León, 1926-2011). Forma parte de la llamada «generación de los cincuenta». Es la autora de las novelas 'La enredadera' , 'Porque éramos jóvenes' , 'El vergel', 'El enigma', 'La Casa Gris' y 'Hermanas', y del ciclo que comienza con 'Historia de una maestra' y continúa con 'Mujeres de negro' y 'La fuerza del destino'. Sus relatos están recogidos en el volumen 'Fiebre'. 'Historia de una maestra' se publicó en el año 1990.

(8 mar: Día Internacional de los Derechos de la Mujer) A comienzos del siglo dieciséis, «había en Santiago [de los Caballeros, conocido entonces como Santiago de Jacagua,] “80 de a caballo”, que eran los vecinos principales, poseedores de caballos. Parece que pasear a caballo con una persona era gran prueba de amistad. Esta costumbre aún se conserva en Santiago.»1 «Por otra parte, el impacto de la belleza y docilidad de las indias yucayas en el elemento masculino español del Santiago de la época parece haber sido extraordinario. Así vemos que cuando Antonio Flores, Alcalde Mayor de la Vega, quiso quitarle a Pablo Hernández una india yucaya, “éste la trajo a Santiago y hasta se casó con ella...” »Fue muy sonado el dramático caso del distinguido vecino de Santiago, Alonso de Sandoval, que, enamorado de una esclava de Bartolomé Rodríguez, de la Concepción de la Vega, fue acusado de mandarlo a acuchillar por un esclavo negro. Dicen los documentos textualmente “que aquella india le pesaba mucho”. »También andaban detrás de las indias yucayas en Santiago el vecino de la villa Alonso Pérez Herrero, quien le cambió a Sancho de Salcedo una nombrada Olaya; Alonso García, minero de Ayllón, en Guaurabo, que le compró a Belalcázar, a Catalinilla; García Gallego, que obtuvo otra yucaya de Juan de Zamora y la traspasó, después, a Ruiz de Tapia; Diego Morales, que compró a Elvira; Marcos y Juan Méndez, que compraron a Juanica; Francisco de Ceballos, distinguido vecino, que compró a Leonorica; y Gonzalo Núñez, que compró a otra india yucaya de la que no se da el nombre. »Para terminar, es interesante llamar la atención sobre que los españoles de Santiago convivieron maritalmente, y hasta se casaron, con estas indias yucayas, las cuales, por lo que puede deducirse de las noticias de la época, provocaron una gran conmoción en aquella “sociedad de hombres solitarios” que fue la de la Conquista. »Abundante sangre de estas impresionantes mujeres debe correr por las venas de los santiagueros de hoy... Tal vez sea ésta la causa de que las “indias santiagueras” sean tan fascinantes... todavía.»2 ¡Qué lamentable situación la que se vivía en la isla Española, hoy República Dominicana, durante la época de la Conquista que nos describe el historiador dominicano Carlos Dobal! Aquellos presuntos «caballeros» de Santiago llegaban a poseer y a «conquistar» a sus mujeres o futuras esposas de igual forma en que poseían y domaban a sus preciados caballos. Al tal Alonso de Sandoval no le pesaba tomar como esclava a una mujer, privándola de su libertad y tratándola igual que a uno de sus caballos; por el contrario, lo que le pesaba era que esa indígena le perteneciera a otro hombre, tanto que mandó matarlo para poder quedarse con ella. Para él y sus «caballeros de armas», casarse con cualquiera de esas «indias» era hacerles un gran favor, ya que tenían el poder para obligarlas a vivir con ellos sin los beneficios del matrimonio. Y para colmo de males, todo eso lo hacían como presuntos «cristianos», a pesar de que fue Cristo quien nos dio la regla de oro, que nos manda que, en todo, tratemos a los demás tal y como queremos que nos traten a nosotros... lo cual incluye a toda mujer, cualquiera que sea su condición social.3 Gracias a Dios, ya hace bastante que no aprobamos, como sociedad, aquellos valores retrógrados de los conquistadores... Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Carlos Dobal, Santiago en los albores del siglo XVI: El solar de Jacagua (Santo Domingo, Universidad Católica Madre y Maestra, 1985), p. 81. 2 Ibíd, pp. 74,75. 3 Mt 7:12; Gá 3:28

Viajemos al pasado y recordemos a esa maestra que tanto nos gustaba y con la cual fantaseábamos, incluso después de haber salido de la escuela. Mantente al día con los últimos de 'El Bueno, la Mala y el Feo'. ¡Suscríbete para no perderte ningún episodio!Ayúdanos a crecer dejándonos un review ¡Tu opinión es muy importante para nosotros!¿Conoces a alguien que amaría este episodio? ¡Compárteselo por WhatsApp, por texto, por Facebook, y ayúdanos a correr la voz!Escúchanos en Uforia App, Apple Podcasts, Spotify, y el canal de YouTube de Uforia Podcasts, o donde sea que escuchas tus podcasts.'El Bueno, la Mala y el Feo' es un podcast de Uforia Podcasts, la plataforma de audio de TelevisaUnivision.

En consultas médicas, en conversaciones privadas o en búsquedas en internet, hay una pregunta que se repite constantemente: ¿Es normal que…? muchas mujeres se preguntan si lo que les ocurre en su vida sexual es normal o si es señal de un problema de salud. En este podcast de El Expresso de las 10 la Dra. Mariana Rivas Paz médica con especialidad en Ginecología y Obstetricia y subespecialidad en Urología Ginecológica. Educadora en Sexualidad por el Colegio Mexicano de Sexología y Educación Sexual, Maestra en Educación sexual y Terapia de Pareja,nos brinda orientación para estas inquietudes.

¡Tu destino en 2026 ya está escrito en los números y te sorprenderá! Con la guía de Numerana, podrás conocer cómo será tu energía personal este año. En este vídeo desvelamos la energía secreta de 2026, aprendiendo a interpretar qué números influyen en nuestro destino y cómo usarlos para tener un año lleno de oportunidades. ✨ No dejes pasar esta información exclusiva. ¡Descubre tu poder personal y transforma tu vida! Numerana Consultora en Numerología y números de Grabovoi. Era abogada en su propio bufete, pero se transformó con la Numerología. Maestra en Psicoterapia y Desarrollo Humano. Formada en Kabbalah, judaísmo y Yoga y Lcda. como ministra religiosa. Mindalia es un canal de espiritualidad, consciencia, crecimiento personal y salud integral, con entrevistas, conferencias, documentales y programas sobre bienestar físico, mental y emocional, desarrollo humano, autoconocimiento, ciencia y espiritualidad. En este canal participan especialistas, investigadores, terapeutas y divulgadores internacionales, abordando temas como salud emocional, psicología, meditación, terapias complementarias, alimentación consciente, evolución personal y pensamiento crítico, desde una mirada abierta, independiente y plural. : :// . . *Mindalia.com no se hace responsable de las opiniones vertidas en este vídeo, ni necesariamente participa de ellas. #Numerología #Guía #Energía