loose ideas I share the workshop organized by Journalists Foot and delivered by Cristian Alarcón
* Soon I will give way to the newsroom to share .
Narrative Workshop Cristián Alarcón (TCA) How do I choose the topics or areas where I get involved?
TCA: In the narrative there to choose from where I write.
Cristián Alarcón Workshop: One who decides to become a storyteller, is determined to become an author.
Cristián Alarcón Workshop: The focus between the detail and context must exist in the narrative.
Cristián Alarcón Workshop: How to manage data so that my story is universal?
Cristián Alarcón Workshop: When we seek to generate memory stories our readers.
Cristián Alarcón Workshop: Nobody will remember the numbers.
Cristián Alarcón Workshop: When delving into the research neighborhood becomes a character.
immersion journalism is to be in the social and cultural patterns is expressed in violence, is a frank and transparent dialogue with the sources.
Table my stuff to think relatively.
• Not all sources are characters and not all characters are sources
• When introducing the characters I'll introduce the cards for each character.
• The subject must illuminate.
• You have to reconstruct the details of the issues. • Philipe Borgois
; editorial century.
• Understand the value of details (eg Christmas tree, holy death)
• We have to rebuild narrative scenes in each act.
• There is a point where we must detach
• There is a moment we took off the character and lights.
• One should not make deals; are covenants intangibles.
• It is dangerous to look to sources at once.
• A journalist is someone eager unreliable.
• MICRO SITE REPORT
journalism
• There is a lot of crime scenes, choreographed violence, only account where it came from and where was the bullet to stop.
• The writer must select the point where going to tell the story. Weather
particular odor
Furniture Brands
The lights were lit.
Using the theme of the temperature are.
• The crime scene is a fetish: Someone saw things more.
• It should be playing the axis of the chronic and point out the dead.
• The districts have cultural and historical facts.
• Example: The Tepito of Before there was the same.
• Who was the son?
• We have to look where everyone looks NO.
• You have to leave the crime to have the crime.
FINDING THE TONE OF THE STORY
The interview carried the story is a story of life.
On one side is the interview I ask and respond.
Why am I writing this?
No way to find the right tone without making a structure.
The tone can be in the interview, location, temperature.
have to detect the emotional component.
Do we want to be experts or reporters? Meter
brake and give the immediate context. Go
action context.
Being close is not spare their lives to the characters.
Try to see the evil.
Getting out of that logic.
I have to know I am speaking on each of my scenes.
must not lose the data certification.
are new deals with the reader.
MANAGING THE LIKELIHOOD
The Chronicle is an unexpected version of reality.
reflect and find the symbolic places. The
want to keep your routine.
The psychological damage to a routine.
I can not speculate but I give the reader certainty.
be credible means knowing sort.
not want to be named, but he knows and tells. The
chronicler is doomed not to know exactly what happened.
is always necessary to know something of the rituals or routines or characters.
The characters move and goes to a place. Details
showing class status.
When we find these symbols or signs can be demonstrated. October
These days oscurese suddenly raised his eyes when it is night.
culinary tastes. How
enjoy my character?
People see much detail.
The color has to mean something.
data
radio ... Christmas music of the city
The light in the scenes is essential ..
is best at first to find the friend ...
anyone outside the core is better ...
HOW TO WRITE A BURIAL
should not seek answers about the death of another, but the other's life.
You have to start smoking a cigarette, eating and checking the photo album.
life of the dead is the life of those who remained.
need to establish a first covenant. IDENTITY
must make clear agreements with the other. Explain
I'm trying to do ...
I need to know things that maybe make him ridiculous ...
When you consider we can talk about what happened ...
The meetings are to be warm ...
If one is hot the other will perceive ...
with poor transparency is essential.
territorial linkages must be made. CHARACTERS
You have to choose how to count profile through a casting of the characters.
is extremely healthy self bored.
We may be full.
Choose the type of reading to help us to guide us in style.
ignorant should be recognized. Verbs come
a non-colloquial language.
must be reconciled with the simple.
We must protect the amount of images we released. Letting
narrative language
Two copies underline the verbs and adjectives.
You must use black humor and relief for the reader. ANALYSIS
CAPOTE
Dialogue gives respite ...
The chronic permits us lazy.
Go to our input box.
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