Podcasts about maestra

¡Felicitaciones a Mia Hocking, gerente de conservación de recursos de HSD! Fue seleccionada como una de los 53 líderes de sistemas escolares de 25 estados para participar en el Programa de Becas para la Calidad del Aire Escolar 2026-27 del Consejo de Edificación Sustentable de EE. UU. Este programa es una de las iniciativas de calidad del aire interior administradas por el Centro para Escuelas Ecológicas del Consejo. El programa, de nueve meses de duración, ofrece capacitación, asistencia técnica y apoyo entre colegas para ayudar a los participantes a desarrollar planes prácticos para lograr un aire interior más limpio y saludable, así como escuelas más eficientes energéticamente. Anisa Herning, directora del Centro para Escuelas Ecológicas, señala que el alcance de este grupo, que representa a más de 2 millones de estudiantes y miles de miembros del personal, significa que el fortalecimiento de estas prácticas puede mejorar las condiciones de aprendizaje y trabajo en todo el país. Durante la beca, los participantes utilizarán el Conjunto de Herramientas para el Plan de Gestión de la Calidad del Aire Interior Eficiente Energéticamente en Distritos Escolares para crear planes específicos para sus distritos que aborden la calidad del aire interior teniendo en cuenta el consumo de energía y los costos operativos. Este conjunto de herramientas fue desarrollado en colaboración con la Asociación Estadounidense del Pulmón, la iniciativa Go Green y la Universidad de Utah. Incluye un lenguaje sencillo para los planes, estudios de caso y una plantilla editable que los distritos pueden adaptar a sus necesidades. Obtenga más información sobre el Centro para Escuelas Ecológicas en materia de calidad del aire interior en centerforgreenschools.org.  Nuestro evento destacado es el anuncio de los prestigiosos premios que se otorgarán a un miembro del personal y a un padre o tutor legal del distrito. El viernes 25 de septiembre, durante la primera reunión virtual del Programa de Educación Migrante de Oregón, la maestra Oralia Najera, especialista en estudiantes multilingües y educación migrante en Hilhi, fue nombrada Maestra del Año de Título I-C de Oregón 2026-27.*Francisca Alonso, vicepresidenta del Comité Consultivo de Padres Latinos, fue nombrada Madre del Año 2026-27 de Título I-C de Oregón. Con doce años de servicio dedicado a la educación migrante, Oralia ejemplifica lo que significa ser una verdadera defensora de los estudiantes. Desde crear conexiones significativas con familias multilingües hasta colaborar con el personal y aportar soluciones educativas innovadoras y originales a la escuela, su compromiso y dedicación se reflejan todos los días. La Sra. Francisca es reconocida por su incansable trabajo en defensa de la escuela de verano, las tutorías estudiantiles, los alimentos y las oportunidades educativas para las familias migrantes. Como trabajadora agrícola, Francisca encuentra constantemente tiempo no solo para ser una madre dedicada, sino también para formar parte de comités asesores, animar a los padres a mantenerse involucrados y asegurarse de que se escuche la voz de cada familia. ¡Felicitaciones a la maestra Oralia y la Sra. Francisca por este merecido reconocimiento! ¡Nos hacen sentir orgullosos de ser HSD!

La joven de 11 años ha batido otro récord de ajedrez tras una actuación extraordinaria representando a Inglaterra.

La indsutria de los videojuegos ha crecido considerablemente en los últimos años en Reino Unido.

¡Bienvenidos, nuevamente, a Podcast Nintendrón! En esta nueva etapa, nos comemos el cuerpo en descomposición de Archivo Sheikah para adoptar el formato al que tanto cariño había trabajado durante semanas. En nuestro primer capítulo de esta nueva era, vamos a hablar de la Espada Maestra, uno de los elementos más característicos y destacados de la saga The Legend of Zelda. Disfrutadlo y que se entere todo el mundo... ¡Nintendrón ha vuelto!

Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/el-mananero-radio--3086101/support.

E' morta dopo 8 mesi di coma a seguito di un intervento estetico eseguito in una clinica privata di Marostica Clara Palaoro, 56enne di Pergine Valsugana, che nel vicentino si era sottoposta ad un intervento definito “di routine”.

¿Quieres prepararte con nosotros o ver material de muestra? : https://acortar.link/295scz ¿Cómo conseguir plaza en las oposiciones de maestros de Primaria en Andalucía? Ana cuenta el método que la llevó a lograrlo en 2025 después de tres convocatorias… y de haberse quedado sin plaza incluso sacando un 10 de media. En este vídeo explica, sin ocultar los errores: ✅ Cómo organizó cada semana de estudio. ✅ El sistema que utilizó para memorizar los temas. ✅ Cómo creó una estructura de supuesto práctico que podía adaptar a cualquier caso. ✅ Qué hizo para diferenciar su programación didáctica. ✅ Cómo entrenó la exposición oral hasta ganar seguridad. ✅ Por qué los tres últimos meses fueron decisivos. Además, al final cuenta una anécdota del día anterior al examen que demuestra la importancia de no abandonar antes de tiempo. Si estás preparando las oposiciones de Educación Primaria en Andalucía, aquí encontrarás un método real y aplicable para organizar mejor tu preparación y evitar muchos de los errores que Ana cometió durante sus primeras convocatorias. En el comentario fijado tienes toda la información sobre nuestra preparación en OpoMind y varios materiales de muestra gratuitos. Suscríbete para aprender a estudiar, programar y comunicar mejor en las oposiciones docentes. #OposicionesMaestros #OposicionesPrimaria #OposicionesAndalucía ¿Quieres prepararte con nosotros o ver material de muestra? : https://acortar.link/295scz Ojo, somos específicos de Primaria e Infantil ⚡ ¿YouTube se te queda corto y quieres ir más allá? ➜ Instagram / https://www.instagram.com/academiaopomind ➜ Contacto: https://wa.me/+34644904420 ════════════ 00:00 Sacó un 10… pero se quedó sin plaza 01:37 Las decisiones que cambiaron su preparación 03:24 Cómo estudiaba los temas para recordarlos en el examen 05:00 La estructura de supuesto que le dio seguridad 06:32 Cómo consiguió diferenciar su programación 10:00 Las claves de los últimos meses 12:05 Lo que ocurrió el día antes del examen

Lucila Godoy nunca terminó una carrera universitaria. Según la tradición familiar, de niña fue rechazada de una escuela por considerarla poco dotada. Se educó por su cuenta, entre libros prestados, en un valle desértico del norte de Chile. A los veinte años ya enseñaba en una escuela rural, sin más título que su propia disciplina. Firmaba sus poemas con un nombre distinto al suyo: Gabriela Mistral. En 1945 se convirtió en la primera persona de toda América Latina en ganar un Premio Nobel de Literatura, entregado a una mujer que unas décadas antes había sido considerada, por su propia comunidad, poco capaz de aprender. Quien la rechazó de niña jamás pudo imaginar ese final. Esa es la lección más incómoda de su historia: los límites que otros ponen sobre una persona no siempre coinciden con los que Dios puso en ella. Lo que un maestro decide que no puedes llegar a ser no siempre tiene la última palabra. Dios no mide el potencial de nadie por sus diplomas ni por lo que otros dijeron de él en el pasado. Mide el corazón dispuesto a seguir aprendiendo, aunque el mundo ya haya emitido su veredicto. La Biblia dice en Santiago 3:13: "¿Quién es sabio y entendido entre vosotros? Muestre por la buena conducta sus obras en sabia mansedumbre". (RV1960).

Abrimos los micrófonos de la mesa virtual para destripar la ópera prima como director de Aaron Sorkin, el guionista más brillante y codiciado de Hollywood: MOLLY'S GAME (Apuesta Maestra). ¡Entramos oficialmente en la cuenta regresiva definitiva para el gran cierre de este recorrido con el esperado estreno de El Poder de la Red!

El Relato de la Maestra -Relato Erótico- 558 ¿Quién no se ha enamorado de la maestra? SIn importar la materia que enseñe, mientras se vea sexy, hermosa, incluso ganosa, nos mueve las hormonas el que nos digan: Buen trabajo, Excelente, Me siento muy orgullosa de ti. La fantasía de cogerse a la maestra, es de esas que la gran mayoría tenemos. Estamos tan cerca de ella que hacerla realidad, puede ser más que solo una fantasía. No importa el tiempo que te tardes, más si después te llega la vida a un cómplice que tiene la misma fantasía que tu, solo por algunos años de diferencia. cuando tu compañero te dice, hay que jugarnosla, total, no tenemos nada que perder. Llama a la maestra, veamos si ella también pensaba en nosotros. ¿Te quedaste con ganas de más después de este episodio? Perfecto, eso es justo ,lo que buscaba… Llévate el placer un paso más allá Si te gusta escuchar estas historias, imagina lo que te estás perdiendo en la zona exclusiva: Relatos especiales solo para suscriptores Audios más íntimos, más largos y con menos censura Contenido pensado para quienes disfrutan quedarse “un ratito más” conmigo Suscríbete en iVoox y apóyame haciendo clic en el botón “Apoyar”. Además de disfrutar contenido extra, ayudas a que este podcast siga creciendo y yo pueda seguir contándote historias que te suban la temperatura. Contenido exclusivo solo para quienes quieren “ver y oír más” Si este episodio te encendió la imaginación, espera a ver lo que hay del otro lado: Fotos y calendarios sugerentes Audios especiales y material que no comparto en ningún otro lugar Talleres, cursos y más sorpresas para explorar tus fantasías con calma Pasa a lo rico aquí: Contenido exclusivo en SexyQFans: https://sexyqfans.com/cuentalealayola ¿Tienes una historia que te gustaría que yo cuente? Si hay una fantasía, anécdota o recuerdo que te ronda la cabeza y te gustaría escucharla en mi voz, puedes mandármela: Correo: cuentalealayola@gmail.com WhatsApp: https://wa.me/526869457139 ✈️ Telegram: https://www.t.me/cuentalealayola Redes: @cuentalealayola Tu historia podría cobrar vida en vivo por RadioNocturna.com, todos los lunes a las 11:05 PM (hora CdMx): https://radionocturna.com Si ya disfrutaste… también puedes apoyar Si este episodio te hizo compañía, te arrancó un suspiro o te dio alguna idea traviesa: Puedes darme un empujoncito con un donativo en PayPal: https://www.paypal.me/cuentalealayola Cada aporte ayuda a que pueda seguir produciendo episodios, mejorando el audio y creando nuevas historias para ti. Nota picara pero importante Todos los relatos y personajes de este programa son ficción. Algunas historias se inspiran en la realidad, pero cualquier parecido es pura coincidencia… o pura suerte.

En este episodio de Puntos de Fuga hacemos una visita guiada a la exposición “Y pertenecíamos solo a nosotras mismas” en la Biblioteca Luis Ángel Arango, donde se reúnen archivos, prensa, fotografía y obras de arte en torno a la vida de las mujeres en Colombia. La dirigen las curadoras, Carolina Cerón, Maestra en Artes y curadora, directora del departamento de arte de la Universidad de Los Andes, y Sandra Sanchez, historiadora y analista de medios, profesora de narrativas digitales de la misma universidad. El recorrido aborda los diferentes modos en el que las mujeres de Colombia han sido y siguen siendo parte de la historia. Hablan sobre el rol político expandido de la mujer, el sufragio, la educación, la colectividad, la reflexión; sobre el archivo como gesto íntimo y personal; sobre el cuerpo como territorio propio, pero además como territorio disciplinado por las narrativas hegemónicas; y sobre cómo las mujeres han trabajado, tanto en ámbitos institucionales como domésticos. Las miradas que recoge la exposición muestran que la historia de las mujeres está llena de contradicciones, silencios y descubrimientos que aún esperan ser explorados.

Nuestras entrevistas telefónicas nos han llevado hoy hasta Almansa, en Albacete. Allí nos esperaba una amiga del programa de hace un montón de tiempo, Ana Jesús Olaya Cuenca. Maestra de infantil, escritora y amante de la buena literatura. ¿Quieres conocerla un poco mejor? Escucha esta conversación de tarde.

En este episodio platicamos con Mónica Baiza, una maestra influencer en Guatemala, nos platica sobre las complicaciones con los papás, la diferencia entre maestras malas y maestras dejadas y como podrías encontrar un buen colegio para tus hijos

Maestra bufalo è un po' severa, maestro zebra è vanitoso, maestra foca è una gran pasticciona… ma non tutti sanno che, nonostante tutto, anche gli insegnanti possono scoprire cosa conta davvero! Tutti i maestri e tutte le maestre sono speciali nelle loro imperfezioni, anche se trafelati come maestro scoiattolo, esigenti come maestra barbagianni o troppo sensibili come maestro beluga. Tutti gli insegnanti hanno un cuore colmo di emozioni, proprio come te! Un albo illustrato pieno di dolcezza che normalizza le imperfezioni degli adulti e invita grandi e piccoli ad abbracciare a pieno i propri sentimenti. Età di lettura: da 3 anni.LINK: https://amzn.eu/d/0edFtFLD

En este episodio me tomo un café con Mónica Ferré, directora del Colegio Montserrat de Barcelona. 

Ante un diagnóstico de cáncer, hoy en día hay dos caminos: la quimioterapia y las terapias dirigidas. Las terapias dirigidas llegan a muy pocos pacientes y la quimioterapia, aunque altamente eficaz, esparce el fármaco de forma indiscriminada. Ante este dilema, 'Nanoligent' llega como una tercera opción.

El clítoris es el órgano sexual femenino situado en el interior de la vagina y visible desde la parte superior de la vulva, aunque abarca todo el perineo femenino.Su nombre proviene de la palabra griega Kleitoris, traducido como pequeño monte. Es el único órgano que posee la mujer dedicada exclusivamente a proporcionarle placer, no tiene ni funciones reproductivas, ni participa en la secreción de la orina, su única función está dedicada al placer sexual de la mujer. 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 habló de la función del clítoris, su anatomía y la importancia de conocerlo.

Cuando nos enamoramos, sentimos que algo cambia en nosotros. El corazón late más rápido, nos sudan las manos, perdemos el apetito, pensamos constantemente en esa persona y hasta sentimos las famosas “mariposas en el estómago”. Durante mucho tiempo hemos representado el amor con un corazón. Pero, aunque el corazón participa en muchas de las sensaciones que experimentamos cuando estamos enamorados, quien realmente coordina esta compleja experiencia es nuestro cerebro. En este podcast de El Expresso de las 10 escuchamos las recomendaciones de la Dra. Mónica Ureña Licenciada en Biología, Maestra en Ciencias Biológicas, Doctora en Ciencias Biomédicas, Especialista en Neurobiología celular y molecular. Profesora Investigadora del departamento de Biología celular y molecular del Centro Universitario de Ciencias Biológicas y Agropecuarias (CUCBA) y actualmente es Presidenta de Biólogos Colegiados de Jalisco, A. C.      sobre Cerebro, Amor y Placer

Puedes tener el mejor producto del mercado. Si no sabes venderlo, no sirve de nada.Virginia Hidalgo lleva 25 años en ventas. Empezó a los 18 años, con 200 euros en el bolsillo, tras huir de la secta en la que creció. Hoy dirige equipos comerciales y forma a CEOs que facturan millones pero no consiguen cerrar.¿Por qué a casi todo el mundo le da vergüenza vender? ¿Qué hay que decir exactamente cuando un cliente responde "me lo tengo que pensar"? ¿Y cómo se cierra una venta cuando la persona con la que hablas no es quien decide?En este episodio hay una simulación de venta en directo que vale por un curso entero.Suscríbete para no perderte más episodios sobre ventas, negocios y liderazgo empresarial.En este episodio aprenderás:- Cómo quitarte el miedo y la vergüenza a vender cambiando una sola palabra en tu cabeza- La estructura exacta de una llamada de venta consultiva, explicada paso a paso en una simulación real- Qué responder cuando un cliente te dice "me lo tengo que pensar" por tercera vez- Cómo vender cuando tu interlocutor no es el decisor y convertirlo en tu aliado dentro de la empresa- Por qué la mayoría de comerciales pierden ventas en el seguimiento y cómo estructurarlo bien----------------------------------------------------------------

Mtra. Natalia Campos, Coordinadora de Sociedad en el Instituto Mexicano para la Competitividad (IMCO), Licenciada en Ciencia Política y Gobierno y Maestra en Administración y Políticas Públicas.Tema:Tendencias para el futuro de la educación y el empleo. El mercado laboral está cambiando, México necesita adaptar su sistema educativo a las nuevas tendencias.

"Cuando llegas a un pueblo aislado, te das cuenta de que las leyendas no existen para asustar a los niños, existen para advertir a los forasteros."Bienvenidos a un nuevo archivo de la comunidad en Terrores Nocturnos Podcast. Hoy encendemos la fogata para dar lectura a las escalofriantes vivencias escritas que nos confió Patty Moreno, una valiente maestra jubilada que durante 1984 fue destinada a una recóndita ranchería en el Estado de México.En este episodio doble inmersivo (se recomienda el uso de audífonos), el Doctor Escalofrío narra dos eventos que marcaron la vida de Patty. Primero, el terror psicológico de ver cómo los aquelarres de sus pesadillas tomaban forma física a través de las temidas bolas de fuego en el cerro local. Y segundo, el helado encuentro en un camino peatonal con un hombre vestido de negro montado a caballo; un acompañante del más allá que nadie más pudo ver.En la bitácora de esta noche escucharás:La conexión sobrenatural entre los sueños premonitorios y los eventos geográficos.El folclore del 3 de mayo (Día de la Santa Cruz) y la actividad de brujería en los cerros de México.El clásico y siempre aterrador encuentro con las entidades de los caminos rurales.

In this episode, Jocelyn talks with Georgia Stitt about her career in musical theater, the multifaceted Maestra project, navigating the need for community and isolation in creativity, and what it means to be in the very small club where your husband is also a composer.  Companion playlists: Youtube, Spotify   Episode Transcript   Learn more: https://linktr.ee/ComposeLikeaGirl  Support us: Buy Me a Coffee  Order Here I Am: Choral Music of Jocelyn Hagen from True Concord Voices and Orchestra      Relevant Links:   Snow Child based on the novel by Eowyn Ivey Bell Tower  Stop from the album A Quiet Revolution  The Danger Year  Let This Darkness Be a Bell Tower   Maestra  Maestra Directory Maestra Mentorship run by Meg Zervoulis Bate and Sonya Hayden   Blair School of Music at Vanderbilt  NYU Graduate Musical Theatre Writing Program Summer Stock Stage (SSS)  Princeton University   John Morris Russell Eric Whitacre  Mary Mitchell Campbell  Cincinnati Pops Orchestra Time's Up Plus One initiative The Artist's Way    Violet by Jeanine Tesori  The Last Five Years (movie version) tick, tick... BOOM! directed by Lin-Manuel Miranda (movie version) Sweet Charity with Sutton Foster, directed by Lee Silverman 

Hay maestras bien bonitas, de esa que te enseñan cosas para la vida... pero también están las maestras bien buenas que quisieras que te enseñaran cosas pecaminosas que también vas a necesitar cuando creces. 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.

¿Cuánto sufrimiento podríamos evitar si dejáramos de pelear con aquello que no podemos cambiar? En este episodio de Enlace50, Concha León Portilla conversa con MEG, maestra espiritual, sobre el poder de aceptar la realidad sin caer en la resignación. A través de una conversación profunda y cercana, descubrirás cómo transformar la resistencia en aprendizaje, fortalecer la resiliencia y encontrar una paz interior más auténtica. Durante este episodio hablamos sobre: • La diferencia entre aceptar y resignarse.• Cómo disminuir el sufrimiento emocional.• El poder de vivir el momento presente.• Herramientas para enfrentar los cambios de la vida.• Espiritualidad aplicada a la vida cotidiana.• Bienestar emocional y crecimiento personal. Si buscas vivir con más calma, claridad y equilibrio, este episodio te ofrecerá reflexiones y herramientas que pueden ayudarte a transformar la forma en que enfrentas los desafíos diarios. Enlace50, con Concha León Portilla, presenta conversaciones que inspiran a vivir esta etapa de la vida con propósito, bienestar y aprendizaje continuo.See omnystudio.com/listener for privacy information.

En este episodio, Alexa Zuart cuenta cómo pasó de ser maestra con sueldo insuficiente a vivir de la comedia, usando la risa como salvavidas para enfrentar una vida llena de responsabilidades y momentos duros. Habla de educación, comprensión lectora, espectro autista, oratoria y del proceso real de subir, fallar y volver a subir al escenario hasta convertir la comedia en su principal fuente de ingresos y en otra forma de vida.Sé parte de la primer temporada de Fírmame el Cheque. Si eres emprendedor y buscas inversión, entra a la liga que te dejaré a continuación, llena el formulario con la información de tu negocio y ya estarás compitiendo por un lugar en el programa: https://firmameelcheque.com/00:01 - Estudios y vocación: licenciatura en educación preescolar, otra en educación y posgrado en educación; la terapia como “balance real” sin maquillar08:15 - El mayor problema educativo que ve: comprensión lectora deficiente, familias cambiantes y cómo eso pega en todos los aprendizajes10:01 - Exámenes de opción múltiple: rellenar un círculo, instrucciones simples que muchos no entienden por falta de comprensión lectora11:34 - Por qué en muchos hogares no se lee: dinero limitado, libros vistos como “deseo, no necesidad” y la dopamina del celular ganando13:49 - Testigos de Jehová y lectura: tres reuniones por semana, análisis párrafo a párrafo y cómo eso le dio comprensión lectora sólida16:28 - Formación espiritual: lo que aprendió ahí, por qué hoy se define como agnóstica y cómo usa ese bagaje para evitar muchos problemas20:04 - Sueldos docentes: último salario como maestra particular de tiempo completo, 6,000 pesos al mes; anuncios actuales de primaria en 9,000 y administración en 14,00023:56 - Cómo completaba el ingreso: maleta de vendedor, ropa, ollas, chanclas y talleres de lectura y oratoria para generar más lana28:45 - Primeros golpes en la comedia: talleres, fracasos, chistes incómodos como el del SEMEFO y la presión por hablar de temas “más comunes”32:05 - Subir y bajar del escenario: entender que la comedia no se enseña, solo se dan herramientas; cada quien vive la comedia distinto36:01 - La regla de tres y la sorpresa: estructura de tres ideas donde la tercera rompe la lógica y provoca risa al cerebro41:08 - Estudiar y hacer comedia al mismo tiempo: licenciatura de 800 pesos al semestre en la UPN, trabajar de lunes a domingo y regresarse sola en el metro de madrugada49:17 - Historia con su mamá: derrame cerebral a los 23, cuidados en casa, empezar a vender gelatinas a los 5 años y aprender que “nadie te va a regalar nada”53:39 - Educación financiera casera: libreta de 15 días, planear ventas en Mixcoac para pagar peinados y extras de la escuela54:47 - Finanzas de comediante: dejar la plaza fija de maestra, priorizar universidad de su hijo, pagar coche, ahorrar para su maestría y vivir de shows, TV Azteca y proyectos como La oficina

Carne Cruda cierra temporada desde el Festival de la Cultura y las Ideas de ⁠eldiario.es⁠ en Rivas Vaciamadrid con una de las voces que mejor representa la memoria como reivindicación de la libertad: Cristina Rota. Actriz y emblema de la enseñanza de arte dramático en nuestro país, por su escuela han pasado intérpretes de la talla de Penélope Cruz, Fernando Tejero, Malena Alterio o Alberto San Juan. el artículo continúa después del siguiente mensaje. Ahora nos presenta sus memorias, “Una historia de teatro y resistencia”, y contamos la historia de una mujer que se enfrentó a la dictadura argentina, perdió a su marido, desaparecido por los militares y se exilió en España donde siguió luchando por las ideas y la cultura desde una de las escuelas de actores más importantes de nuestro país.  Más información aquí: https://www.eldiario.es/132_cb62d8  Haz posible Carne Cruda: ⁠carnecruda.es/hazte_productor/

¡¡NUEVO PODCAST!!-Miguel Baigts… “Día Internacional de las Redes Sociales”-Adrián Gutiérrez Ávila… “Padre Divorciado” (segunda parte)-Nilda Chiaraviglio… Libro: “Amar sin perdernos. Más allá de la pareja, un viaje hacia el vínculo verdadero” -Dra. Tere Vale. Psicóloga y Periodista… “Ansiedad y Estrés después de una catástrofe”  -Luz Calderón. Maestra en Ciencias y Astrónoma… “Día Internacional de los Asteroides”  -Betsabe Rosales… “La  fiesta del futbol: México vs Ecuador y las sorpresas del mundial”

#wwe #aew #wrestling E:226 T:7 Aquí hablamos “¿Estrategia maestra o pánico? El giro radical de WWE y la respuesta de AEW” y más…

¿Te despiertas por las mañanas sintiéndote cansada como si no hubieras dormido, vives con una sensación constante de prisa o ansiedad silenciosa, o sientes que tu mente siempre está esperando que algo malo suceda? Puedes intentar hacer afirmaciones, tomar suplementos o meditar, pero mientras tu sistema nervioso autónomo permanezca desregulado, tu biocomputadora seguirá atrapada en un bucle de colapso. Este es, sin duda, el fortalecimiento más importante y crítico que debes realizar antes de intentar transformar cualquier otra área de tu vida; es la llave maestra biológica.El problema no es tu falta de voluntad o de fe; es un comando de alerta encendido en tu amígdala. Cuando sufres traumas, traiciones, estrés financiero o pérdidas acumuladas, tu hardware físico se queda congelado en el modo supervivencia. Tu cerebro interpreta el entorno como una amenaza constante y satura tus células de cortisol y adrenalina. No importa que estés segura en tu casa: para tu sistema operativo, estás en medio de un campo de batalla. Vivir en desregulación constante bloquea de forma mecánica tu capacidad de recibir abundancia, debilita tu línea media y destruye tu salud física.En esta transmisión, realizamos una intervención profunda en la consola de comandos de tu sistema nervioso para apagar la alarma de la amígdala. Utilizando la precisión técnica del Método Yuen, ingresamos directamente a tu médula espinal para borrar las memorias de peligro, desactivar el software de alerta continua y programar tus células para que asimilen que es seguro relajarse, soltar el control y recibir.⚙️ Lo que desconfiguramos y neutralizamos con esta llave maestra:• Apagado de Alerta en la Amígdala: Neutralizamos la señal química de amenaza continua que mantiene a tu cuerpo en un estado de estrés invisible.• Reprogramación del Sistema Nervioso: Borramos el trauma acumulado y la necesidad inconsciente de vivir en modo defensa o hipervigilancia.• Activación de Estabilidad Central: Fortalecemos la línea media, el sacro y el líquido cefalorraquídeo para devolverle al cuerpo la neutralidad y la calma molecular.Escucha este fortalecimiento de manera diaria hasta que tu hardware asimile la verdadera neutralidad y tu sistema nervioso entienda que el peligro ya terminó. Es momento de recuperar tu soberanía biológica y activar la llave maestra de tu sistema.⚠️ AVISO IMPORTANTE: El contenido de este video se presenta exclusivamente como un fortalecimiento energético y alternativa de regulación nerviosa bioeléctrica. No constituye, ni reemplaza bajo ninguna circunstancia, un diagnóstico, consulta o tratamiento médico, psicológico o profesional.Mantén tu línea media firme, suscríbete al canal y asume el mando de tu biocomputadora.¿Lista para el cambio? Haz clic y comienza tu viaje hacia una vida sin límites.

¡¡NUEVO PODCAST!!-Nancy Vargas Gama. Maestra en Psicología… “Mapaternidad” - Ivonne Vargas. “Penalización por Maternidad”  - A los niños ya no los hacen como antes… Dr. Jaime Edelson Tishman. “El esqueleto de la Sra. Morales”

¿Has notado alguna vez que la piel de un bebé se enrojece o irrita en la zona donde usa el pañal? A esta afección se le conoce como dermatitis del pañal, un problema muy común que provoca inflamación y molestias en la piel de los glúteos, los muslos y los genitales.Por otra parte, cuando pensamos en nuestra salud, pocas veces prestamos atención a la mucosa oral, es decir, a los tejidos que recubren el interior de la boca. Sin embargo, esta zona puede brindar información muy valiosa sobre nuestro estado de salud general. En este podcast de El Expresso de las 10 conoce cómo identificar estas señales y los avances que especialistas compartirán durante el Congreso Internacional de Dermatología DERMAJAL 2026 con la compañia de la Dra. Rocio Ferrusco, Médica con especialidad en Dermatología, Maestra en administración de hospitales y servicios de salud. Maestrante de Exposoma y piel, Ex directora del Instituto Dermatológico de Jalisco y Miembro del Comité Científico y de Enseñanza del Colegio de Dermatólogos de Jalisco. Práctica privada en “Dermatología y Dermoplástica integrales”, la Dra. Elisa Crystal Sánchez Moreno, Médico con especialidad en Dermatología, Cirugía dermatológica y dermato-oncológica. Micóloga médica con formación en psicodermatología, tricología y dermatología integrativa. Integrante del Colegio de Dermatólogos de Jalisco y la Dra. Gloria Lilian Contreras quien es Médica con especialidad en Dermatología y dermatología pediátrica. Ex presidenta del colegio de dermatólogos de Jalisco Socia fundadora del Colegio Mexicano de dermatología pediátrica y Editora y autora del libro “tricologia en pediatría”.

Te venden el agua a la que tienes derecho.Te quieren vender el aire al que tienes derecho.Y te están vendiendo la felicidad (INCOMPLETA) a la que tienes derecho.En este episodio revelamos lo que la ciencia dice sobre la nicotina, y cómo secuestra tu felicidad para devolverte migajas a cambio e tu dinero. Support the showTe MERECES la libertad, simplemente por que es DELICIOSA.Te regalo mi bestseller enWWW.CARLOSALBERTO.MX

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

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/

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

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

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

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

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.

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.

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.

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.