One person hooked half of Spain

From high-quality documentaries like Catalan ‘Crims’ to crime news fictions about real cases, true crime events dominate all channels and platforms. Although criticized for ethical and moral reasons, it attracts public interest. After exhausting foreign cases (the psycho-killer is a post-industrial and American phenomenon), Spanish true crime emerged. Because we always had crime news with Spanish headlines like ‘El caso’, a second wave came.

This popularity has spread to podcasts, where new approaches to real crimes are proposed daily. Clara Tiscar’s ‘Criminopatía’ is a popular and highly listened to song on Pódium and other platforms. We asked her about her role as a Spanish true crime reference, a less bloody mystery than her usual ones.

We’re curious why she created “Criminopathy” and where her interest came from. She says, “I write crime novels and listen to true crime podcasts. As a self-published author, I thought a crime novel podcast would help build an audience.” Thus, a serious-amateur project that does not match how strictly the researcher considers documentation, which others neglect.

He states that he typically consults a short documentary or lengthy report to gain a comprehensive understanding of the case. I then thoroughly investigate it after putting it in the editorial calendar and seeing that ‘Criminopathy’ makes sense. I use various sources, including books, documentaries, and press articles, depending on the case.

Weekly programming presents challenges: “Media coverage can be scarce. Even though I’m interested in the subject, the program doesn’t have enough information. My weekly program requires Internet research, so I cannot use newspaper archives or personal interviews. What’s hardest is telling what others have told but writing a script from scratch. Since journalists who have investigated the case before deserve credit for the data, I can only tell the story well.”

‘Criminopathy’ is known for its unusual tone: without stridency, striking sound effects, or dramatizations, Tiscar’s voice envelopes the cold data. It was a necessity because I only had my voice and I knew writing each episode would take many hours, so the editing (which I did at first) had to be as simple as possible. I needed few elements and they could always be the same.

All this with minimal embellishments, combining style and necessity: “I didn’t put sound effects or audio clips in the cases to save editing time and simplify my life because I wouldn’t have the same audios in all cases. I made do with what I had. I usually KISS (Keep everything simple, stupid).”

We now enter one of the most difficult aspects of creating a true crime podcast: ethics and sensitivity toward real crimes and victims. Indeed, Clara Tiscar states: “I couldn’t do it otherwise. Respect for victims and data is important to me; I am meticulous with data.”

He also feels the effects of handling difficult issues: “I usually have two or three cases in mind, documenting one, writing another, and starting the next… If it were just one case, I’d be more obsessed, but there’s always another to start, so I close one and start another.” But some lingers: “Something always stays with me, there are cases that make me sad, others put me in a bad mood… but I try to compartmentalize and not take them beyond the program.”

With more episodes and learning, Clara Tiscar has improved technically. This affects crime narration (“I write as if I’m reading it aloud and use literary techniques to organize the story. One “trick” is knowing how to dose information so it doesn’t get boring and maintains the story’s tension and rhythm, as well as the programs’ technical quality.

The evolution has been complete: “I started recording and editing my programs at home; now I record them at the radio and have a professional edit them. Since my fan club records and edits in a sound studio, it must have improved. We kept the audio simple and without frills. I’ve learned a lot about writing since I started at Podium, where scripts are professionally edited.”

a single case. Television shows like the Catalan ‘Crims’ are excellent. Due to its praised approach to cases, this program has been dubbed into Spanish on Movistar Plus + and Netflix, following the success of ‘El cuerpo en llamas’. Over four seasons and since 2020, Carles Porta’s Catalan television program has had 20% audience share.

The issue goes beyond documentaries. The recent success of Spanish series like ‘El cuerpo en llamas’, ‘El caso Asunta’, and ‘El marqués’ shows that true crime is popular in all its forms. Netflix, which knows how to squeeze its productions, often releases documentaries with true crime series. It did so with Rian Johnson’s ‘Monsters’ and Spain’s ‘El caso Asunta’.

One person hooked half of Spain

By knl9j

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