ENGAGEMENTS

How We Trained Our Storytelling Fellows

In preparation for the storytellers’ time on the ground, working with communities, The Locavore hosted five experts across different fields with diverse experiences and skills.

SHREYA BANSAL | 25 AUGUST 2026

Harsha discussing how observation can be used as a tool for a photographer while giving examples of his own process.

Launched in April 2026, the Woman Farmer Project brings together six writers and filmmakers to tell stories of women and the role they play in upholding food systems across three regions—Tamil Nadu, Madhya Pradesh, and Meghalaya. In preparation for the storytellers’ time on the ground and their interaction with the communities, The Locavore hosted mentorship sessions with five experts across different fields. 

The mentorship sessions saw the participation of the fellows, The Locavore team members, and candidates from various other organisations working toward ethical storytelling around food systems. Each session allowed the attendees to pause and rethink the many journalistic and storytelling processes, have meaningful discussions, and attempt to come up with solutions for the challenges they might encounter on ground. 

Seeing like a photographer: Visual storytelling with Harsha Vadlamani | 18 May

A visual narrative-building workshop for journalists and photographers — held as part of The Locavore’s Woman Farmer Project — explored the nuances of ethical storytelling through photographs.

Harsha Vadlamani is an independent photojournalist and National Geographic Explorer whose current work explores food systems, environment, migration, and health, grounded in long-term engagement with rural and indigenous communities across India.

His work has appeared in National Geographic, The New York Times Magazine, The Wall Street Journal, GEO, Al Jazeera, The Economist, The Guardian, Le Monde, Financial Times, Bloomberg, Rest of World and Scientific American, among many others. In 2020, Harsha documented three years of the Indian farmers’ protest through portraits and interviews. His project ‘Heavy Lies the Grain,’ investigates the impact of decades of intense monocropping on Punjab’s agriculture, water resources, health and farm debt. See more of  his work here.

Harsha during his session discussed the importance of understanding your tools and gears before going to the field.

“I don’t like to talk much while I’m photographing. I tell them (people being photographed) to forget that I am here”

Photojournalist and filmmaker Harsha Vadlamani conducted a training session on visual narrative building. Through his own work and experiences as a visual storyteller, Harsha emphasised the need for photographers to understand visuals beyond just a supporting tool in storytelling.  He encouraged journalists to recognise the role of photographs in telling a story by conveying information and emotion. 

1. Understanding your gear and other basics of photography

As Harsha began the session, he talked about  the significance of  a storyteller being familiar with their equipment before they go into the field. A photographer must have an understanding of how their equipment behaves and what its controls are. “I would never go out in the field without knowing what my camera is capable of,” he said.  Harsha also emphasised on why it is valuable for a storyteller to visit and know their location before an  assignment and how it can help relationship building with the community a storyteller is working with.  “I sometimes go a day prior to do a recce of the field, to get an idea of how things would work and befriend a few people,” Harsha said. 

‘Basics’ checklist:

  • Clean the lens: Avoid smudges and fingerprints. 
  • Reading the light: Pay attention to the direction of the light and make sure the light is behind you. 
  • Photographing with intent: When you are about to take a photo, pause for a few. moments and understand the scene you are trying to capture. 
  • Wide, medium and close shots: Take a picture from a distance, slightly closer to show details and then move even closer to focus on something. 
  • Don’t zoom the camera, move yourself: Digital zoom can reduce the quality, and moving closer to your scene can change your perspective. 
  • Shoot at eye level: It matters how you represent someone through your photograph. 
  • People are not your subjects: Be nice to the people you are photographing.

Harsha during his session discussed the importance of understanding your tools and gears before going to the field.

2. Importance of observing as a photographer

“I don’t like to talk much while I’m photographing. I tell them (people being photographed) to forget that I am here,” said Harsha. Harsha also discussed the importance of the time spent observing your scene and the people involved. According to Harsha, once you build a relationship with individuals, the process of being around them and observing them from a distance becomes easier for a photographer. 

How to build trust with people you are photographing:

  • Explain your intentions.
  • Be honest. 
  • Smile. 
  • Introduce yourself.
  • Ask people questions.
  • Read the room.
  • Ask for consent before taking any photos.
  • Do regular check-ins. 
  • Know that it is okay for people to say ‘No’.

Discussing the different ways a photographer can identify characters and build narratives visually during Harsha’s session.

3. Building the narrative through images

“Think of a photo story as a film.” Harsha also emphasises the importance of choosing your shots carefully and arranging them to give your audience information about geography, characters, environment, emotions and actions:

Types of images and what they convey:

  • Opening image: Creates curiosity and sets the mood.
  • Establishing frames: Convey geography, atmosphere and scale.
  • Portraits:  Capture emotion and intimacy. 
  • Action/Transitional images: Move the story forward.
  • Detail images: Provide texture and deepen meaning. 
  • Closing image: Leaves emotional residue and opens more questions. 

As Harsha talked through various situations, tips and challenges, he also highlighted that a visual storyteller develops their style over time. “For me, I don’t like clutter, I like very clean, well-balanced, nicely composed images with good colours,” he said. “But there have also been moments where I’ll use a very different approach. According to Harsha, over time, a visual storyteller will know what they really like. “The journeys are all different.”

The opportunity to witness Harsha’s work and get a glimpse of his process and background work helped our storytelling fellows and other participants find a platform to place their confusions and hesitations as they get ready for the field. It raised questions about a visual storyteller’s responsibility in understanding nuances around informed consent, dignity, respect, power, bias and access. Harsha‘s workshop is a valuable resource for every storyteller who wants to find solidarity and support as they go to the ground with their camera, trying to tell a story sensitively. 

Going Beyond the Numbers and Creating Evidence:  Specifics of Environment Reporting with Shreya Raman | 18 May

A workshop on environment reporting informed participants about the many stages of writing nuanced stories on climate change.

Shreya Raman is an independent journalist reporting on climate, labour, and public policy.

Over the last nine years, Shreya has reported extensively on issues of gender, labour, health, and climate. She has previously worked as a journalist for Behanbox, IndiaSpend, and Mirror Now. She is the recipient of the Laadli Media Award for Gender Sensitivity and the Likho Award for Excellence in Media. Her work has appeared in publications such as Foreign Policy, The Fuller Project, Nikkei Asia, Scroll.in, Article 14, and The Third Pole. 

Shreya’s story focusing on fisherwomen’s fight against privatisation of ports in Maharashtra can be read here, and her reportage on fisherfolk’s battle to save coastal land can be read here. You can also read more of her work here. 

An online training session conducted by journalist Shreya Raman on the different stages of environment reporting.

“As a process, reporting is very reactive”

Journalist Shreya Raman conducted a training session on environment reporting. While talking about her own process, Shreya explained the different stages of reporting that make a story compelling and well-rounded. She emphasised the importance of building evidence for a reporter and urged storytellers to question every source—whether anecdotal, expert, or data. 

The different stages of reporting a climate story

Shreya discussed in detail the process adopted to report a story. “Each story has its own process. Every location, the focus of the story, the scope of the story, and the relationship you share with the source will change the process each time,”  she said. But according to her, there is a larger process that can help journalists. 

Discussing methods of pre-reporting with Shreya Raman.

1. Pre-reporting stage

“A great report starts with good pre-reporting,” according to Shreya. Before you go into the field, it is important to read up on and understand your location. “The more pre-reporting  you do, the more comfortable you will be on the field,” she added. 

Pre-reporting for climate change: 

  • Read local newspapers and understand the caste-dynamics, politics, and economics  of the region.
  • Do background research and look for patterns of weather and climate change in the region.
  • Talk to someone already working on the issue to understand larger patterns and get local context. 

Understanding the nuances of interviewing for a story focusing on climate change.

2. Reporting stage

“As a process, reporting is very reactive,” said Shreya. While it is important to be prepared and stay true to your story, it is also important not to push people to say what you want them to say. “Letting people talk is a way to push the boundaries… that is , one way of good reporting,” Shreya explained. 

On-ground reporting for climate change: 

  • Ask open-ended questions and let people talk about what they want. 
  • Move on to detailed questions about a person’s life and their daily schedule. 
  • Try to understand the complexities of their work and choices. 
  • As you interview more people, start identifying patterns connected to the focus of your story.
  • Observe closely.
  • Remember to protect yourself and the people you are interviewing. 

Shreya discussed the nuances of writing a climate-centric story.

3. Writing and Research stage

“This is the stage when I am thinking of what else I need to make a story more rounded,” Shreya said. At this stage, you have anecdotal evidence from field work, but now need to build more evidence with data. “You collate multiple pieces of evidence to put forward a compelling narrative.”  

Writing a story on climate change: 

  • Collect your notes and start looking for climate-related patterns.
  • Look for other news articles, research papers, and civil society reports that can add context to your findings.
  • Continue to question and assess the data for its methodology, sample size, and conflict of interest against your own findings from the field.
  • Check who your expert is. The more rooted in the location, the more reliable they are. 
  • When writing, be specific, clear, sensitive, and accurate. 

Familiarising themselves with Shreya’s method of reporting and writing a well-crafted story enabled the storytelling fellows to understand the practical, on-ground realities of reporting climate-related stories. It shed light on a reporter’s responsibility to be prepared while also being careful and instinctive to make sure their reporting is accurate and sensitive. Shreya’s process was a helpful framework for all storytellers trying to push the boundaries to tell a new story. 

Navigating as a Journalist: Field Readiness Workshop for Women Reporters with Laxmi Murthy | 19 May

A workshop on safety and ground reporting explored the nuances of being a woman reporter.

Laxmi Murthy heads the Hri Institute for Southasian Research and Exchange, and conducts research and training on gender, freedom of expression, and journalists’ rights.

Laxmi is also a contributing editor with Himal Southasian and has worked with the International Federation of Journalists (IFJ).  She is engaged in feminist archival projects, most notably with feminist publisher Zubaan, and media research with several peoples’ networks, including sex workers’ collectives. Laxmi has been associated with the autonomous women’s movement and civil rights movement in India since the mid-1980s. She is one of the founder-members of the Network of Women in Media, India, a forum for women media professionals. She is also co-founder editor of the Free Speech Collective, a platform for journalists and free-speech advocates.

Laxmi discussed the different ways journalists can prepare and pack for ground reporting.

“Building relationships with the community and how not to exploit vulnerable people is as much a part of field protocol as [your own] safety”

Journalist Laxmi Murthy discussed how reporters can practise ethical storytelling while also taking precautions for their own safety. Her session shed light on the experiences of women journalists and how their gender identity can impede their time as a reporter. Laxmi also shared big and small ways in which journalists can build resilience and adapt a personal toolkit to navigate the field. 

1. Preparing for a reporting trip

Laxmi Murthy started the session by discussing how reporters can prepare for a field trip by creating a personal practical checklist of what they need to pack. She emphasised the need for reporters to anticipate the nuances of the location they will be visiting and the communities they will be working with. “As you travel more and more, your own checklist will keep changing because you are evolving and realising that some things don’t work,” said Laxmi. 

Laxmi’s suggested checklist:

  • Equipment: Small backpack, waterproof bags, notebook, pens, flashlight with batteries, USB drive and storage backup, power banks, spare batteries, safety pins, threads, and photocopies of government-issued IDs. 
  • Clothing and personal items: Easily washable garments, clothes that blend in, a sturdy pair of shoes, extra chappals, clothes for sun protection, umbrellas, rain jackets, a portable mug, quick-energy snacks, personal medication, menstrual hygiene products, and a first-aid kit. 

Laxmi’s session discussed the many scenarios journalists can face on the field and ways to navigate them.

2. Basics of digital safety

Laxmi also discussed the considerations for reporters when carrying digital equipment. According to her, reporters should be aware that the information they are carrying doesn’t put themselves or anyone else at risk. “Digital safety is about protecting your devices without endangering yourself in any situation,” she said.

Measures for digital safety:

  • Back up all your data to an online drive, cloud, or another device. 
  • Remove or limit access to personal information or photos from the device/s you are carrying. 
  • Log out of accounts you will not be using. 
  • Clear your browsing history. 
  • Password-protect all your devices. 

The session on field readiness also discussed how storytellers can ensure safety for their sources.

3. Respect and consent while reporting

Laxmi discussed the different ways a reporter can practise ethical storytelling while working with different communities. “Building relationships with the community and how not to exploit vulnerable people is as much a part of field protocol as [your own] safety,” Laxmi said. She also explained how reporters should prioritise the well-being of the community and lead with the principle of “do no harm.”

Advice on ethically working with communities:

  • “Be a human first,” and don’t treat people as “sources” or “contacts” only. 
  • Be transparent about your objectives and how you will use people’s photos and quotes. 
  • Mask identities if required. 
  • Build a rapport and ask for consent, especially while filming.
  • Renegotiate consent; don’t take it for granted.  
  • Respect the withdrawal of consent at any time. 
  • Be respectful to individuals’ beliefs and concerns. 

Laxmi discussed the importance of situational awareness as a safety toolkit for storytellers.

4. Security and situational awareness for reporters 

The session covered the various risks women reporters can potentially face and ways to be prepared for them. “For women reporters, your gender itself gives you an added risk factor, simply because of the way the society is structured to look at women [who are] on their own or in public spaces,” Laxmi said. According to her, a good journalist cultivates safety awareness, just as she develops interviewing and investigation skills.

Safety tool box for reporters:

  • Situational awareness: Be conscious of what is happening around you, how this could impact you, and what is likely to happen next.
  • Implementing situational awareness: Pay attention to people and your surroundings, avoid confrontations, and come prepared with your own research.
  • Be alert: Be vigilant of your surroundings and keep an eye out for any signs of physical surveillance.
  • Gut feeling: It is not paranoia or overreacting, or even mistrust—it is about safety.
  • Setting boundaries: Practical tips to talk yourself out of uncomfortable situations means developing the ability to say no.
  • Always share your location with your co-reporter and editors, and have emergency contact numbers on hand. 
  • Talk, humour, and presence of mind are among the best safety tools.

Laxmi’s session provided the platform for our storytellers to discuss the nuances of being a woman reporter. Through her own experiences of reporting, Laxmi was able to create a space for young women reporters to discuss the many vulnerabilities and challenges. The discussion also highlighted the need for solidarity among women reporters so they can come together to freely discuss their apprehensions and build practical safety toolkits to use while in the field. Besides their own safety, an equal emphasis was laid on the safety of the communities they work with. 

Who Counts and Who is Counted: Data Reporting Workshop with Karthik Madhavapeddi | 25 May

A workshop on identifying and analysing data trained journalists in using data to tell stories.

Karthik Madhavapeddi is the Managing Editor at IndiaSpend.

Over the last decade, Karthik has led journalism projects on air pollution, crime, public health, and fact-checking. His projects have received national and international awards, including the Data Journalism Award 2019 by the Global Editors Network. You can read IndiaSpend’s work on climate and data here and here. You can also read their reporting on gender through numbers here.

An online workshop on data reporting and storytelling conducted by India spend, managing editor, Karthik Madhavapeddi.

“When you talk about large numbers, people can skip over these things… we have to find a way to make those numbers more relatable and compare it with something that is more visible”

Karthik Madhavapeddi shared his experience of working with data and using numbers to support lived experiences and narratives. He also encouraged storytellers to be critical of data and question it at every step. His session focused on how storytellers can find data, interpret it, and analyse it to make it more accessible for readers.

1. Interpreting data

Karthik began the session by discussing how journalists and storytellers should interpret data. By sharing examples of how different data variables interact, he mentioned what a storyteller should focus on when observing data. 

Ways to interpret data: 

  • Look for the extremes revealed by a data set. According to Karthik, why a number is at the highest or lowest, “there is a story with why something is that extreme.”
  • Identify the data trends and patterns represented by a data set. Trends help us identify “why things are increasing, decreasing, and what is the inflection point; we can then explain these trends over time,” he said. 
  • Spot the correct relationship between two data variables. “Correaltion is not causation,” Karthik emphasised. “If we are looking at two variables, one may not be causing the other.” 

Analysing various data sets to look for gaps and inconsistencies and learning how to interrogate data.

2. Interrogating  your data

Karthik also discussed the role  a storyteller plays in verifying what the data is, where a data set has come from, how it has been collected, why it was collected, and who is behind collecting particular data. “It is important to look at the fine print when looking at data,” he shared. 

Ways to verify data: 

  • Always look at the methodology of data collection and spot authentic and reliable sources. 
  • Compare across datasets to get more clarity. 
  • Put data into context by looking at related targets and recommendations set by experts in that field. 
  • Continue to interrogate every number and keep asking questions. 

Karthik discussed examples of putting numbers into context and making them easy to comprehend.

3. Making numbers easy

While working with data, Karthik highlighted the importance of making the numbers more accessible. According to him, “When you talk about large numbers, people can skip over these things… we have to find a way to make those numbers more relatable and compare it with something that is more visible.” 

Ways to contextualise data:

  • Try to contextualise and compare data with a scale that can be easily absorbed by an individual. 
  • When dealing with large budgets and numbers, try to explain how that number would operate in a reader’s daily life. 
  • Let the reader reach their own conclusion, but try to make it more relatable for the reader. 

Discussing the various ways through which the national Census defines a farmer during our data reporting workshop.

4. Data focusing on women and agriculture

Karthik expanded on how a farmer is defined in India through the lens of available agricultural data. He also discussed how various government sources categorise farmers and collect data on them, and how these should be interpreted in terms of methodology and the larger context. 

Sources that share data on farmers: 

Karthik’s session helped the fellows to strengthen their story ideas using numbers. The participants had the opportunity to look at data critically and find gaps together. The exercise helped storytellers to practise putting large numbers into context and finding ways to make it more accessible for readers. Karthik’s workshop was valuable for anyone interested in writing an accurate, all-encompassing story that brings human narratives and data sets together with nuance. 

Above and Beyond the Field: Pitching a Reported Story with Mohar

A workshop on story ideation, interviewing, and writing explored the different stages of ground reporting.

Mohar (they/them) is an award-winning independent reporter based in Mumbai and Bengaluru.

Mohar covers development, public policy, climate change, and the environment through the lens of human rights. Their work has been published in New Lines Magazine, Undark, Evening Standard, Frontline, Newslaundry, Article 14, The Times of India, and Scroll.in, among others.

They have also received two Ramnath Goenka Awards for Excellence in Journalism, one Shriram Sanlam Award for Excellence in Financial Journalism, and attained third place at the PII-ICRC awards.  You can read Mohar’s recent reportage on displacement of communities in Madhya Pradesh here and you can read their work on India’s greenwashing parks here. You can also read more of their work here.

An online training workshop conducted by journalist and reporter Mohar on prereporting, reporting, and writing.

“Make it a two-way process where you are sharing about your life, so the process is not extractive. Meet people why they are at”

Journalist and ground reporter Mohar conducted a training session on pitching and reporting. While sharing examples of their own work, Mohar discussed how storytellers should approach different stages of pitching for a story, conducting interviews, and eventually writing the story. They emphasised the importance of background research and preparation for a reporter, and also looking for a fresh perspective to be able to tell a story that does not already exist. 

1. Before the field: Pre-reporting and background research

Mohar explained the different aspects of reporting a journalist must cover to ensure sensitivity and accuracy in their process. “You are doing a service to the people, and you are not doing them a favour by coming [to the field], they are doing you a favour by talking,” they said. 

Pre-reporting checklist:

  • Pre-travel phone call and conversations: This is the stage to develop a reporting plan. Before you decide on a pitch and go into the field, it is important to talk to organisations and experts working locally to get a sense of who your interviewees will be.

  • Reading: As a storyteller, it is essential to read up on the research that has been conducted on the issue you are going to report on. Understanding the social, climate, and cultural context through research allows a journalist to gain a more nuanced perspective. 

  • Review existing reportage: The most important thing is to review what has previously been reported and published on a subject. This helps a reporter write a good story that uncovers something new. A reporter should know what their story is adding to the existing body of work on any issue. 

Discussing the various ways a reporter can make the most out of their interviewing process, during Mohar’s session.

2. On the field: Conducting interviews

Mohar also discussed how storytellers can plan their interviews and decide the categories of people they want to talk to. They also discussed how journalists should choose whom to interview, how to interview them, and also prepare on managing  interruptions during the interview process. “Make it a two-way process where you are sharing about your life, so the process is not extractive. Meet people why they are at,” Mohar said. 

Tips for interviewing:

  • Have a diverse list of sources, including experts, authorities, and regular citizens diversified by age, gender, caste, class, and other social markers. 
  • Have shorter conversations with a larger pool of people but eventually pick sources who are good conversationalists and storytellers to have a larger conversation. 
  • When talking to women or other socially oppressed groups, pick a private place where people from dominant groups are not present. This will allow your sources to speak freely. 
  • Observe people going on in their daily lives as you take notes on all the details of your surroundings.
  • While you are interviewing and having a conversation, be aware of the list of questions you need to answer and make sure you ask all of them. 
  • Cut out interruptions and focus on the source you are interviewing. 
  • Start with broader themes and mould your questions in language more receptive to the local communities you are interviewing. 

Mohar emphasising the importance of highlighting the voices of local experts who are well acknowledged within the communities you are reporting on.

3. Importance of ‘Local Experts’

Mohar also discussed the importance of identifying and having conversations with local experts—people who are experts within the different groups journalists are talking to. According to Mohar, they understand the history and context for an issue better than other community members. “These leaders are usually elders and are also acknowledged by the community. [As reporters] try to spend a good day with them.” 

The Role of Local Experts:

  • They provide knowledge and information that comes from the ground up and guide your story accurately. 
  • These local experts can include women’s collectives, lawyers, or elders in the community who live amongst the people and have been interacting with the issue for a long time. 
  • A storyteller should foreground the voices of the local experts in a story. This will help a journalist uncover the ground reality beyond just the national context. 

Mohar’s session helped participants gain a better understanding of the writing process and filling gaps once the writing is done.

4. After the field: Writing the story

Mohar discussed the process of assembling all the information that a journalist has collected over time. They discussed different ways through which storytellers can structure and organise the information to write their story. “Just write… once you have all the information, fill it in with the structure you have… don’t overthink it,” said Mohar. 

Steps to remember:

  • Make a list of key points from each interview.
  • Identify and separate themes. 
  • Identify new reportage that has not been done.
  • Plan the story structure. 
  • Write the nutgraph.
  • Write the story. 

Mohar’s session, conducted right before our WFP fellows set out to report their own stories, was a helpful toolkit for storytellers to plan their time on the ground. It provided them with the opportunity to create tangible plans so they can pursue their ideas and convert them into well-drafted stories. Mohar’s detailed session, covering different stages of reporting, also gave the fellows a chance to modify their own ideas and pitches, and make a personalised reporting plan for themselves. 

Doc Society Climate Story Fund supports compelling independent media storytelling and impact strategies from around the world that can help audiences envision the just transition, and activate them to make these visions a reality.

This story is part of the Woman Farmer Project, a multimedia storytelling initiative led by The Locavore in partnership with the Doc Society Climate Story Unit. It aims to build a roadmap for successful collaborations between storytellers, grassroots organisations, and community distribution networks across India.