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María Fernanda Ampuero (Guayaquil, April 14, 1976) is an Ecuadorian writer and journalist. She has published three works and several articles in different newspapers and magazines from different countries. She is currently living in Spain.

Ampuero studied the Mention of Literature at the Catholic University of Santiago de Guayaquil. In 2005 he moved to Spain, from where he has produced most of his work. Her published works are: What I learned in hairdressing (2011), Residence permit (2013) and Cockfight (2018). In addition, she has published several articles in different magazines and newspapers of some countries, such as the Internazionale of Italy, Samuel of Brazil, Chimera and FronteraD of Spain, Gatopardo of Mexico, SoHo of Colombia / Ecuador and Mundo Diners of Ecuador. She currently publishes in Mundo Diners magazine, where she has worked since 2013. She has also published in different Ecuadorian newspapers, as for example El Telegrafo (in the "Cartón Piedra" section) and El Universo.

María Fernanda Ampuero has been recognized with several awards: the Mary Shelley Children Prize with her story Who do men say that I am? in 2015; the Harvest Eñe prize for Nam's story, in 2016. The story talks about the first sexual experiences and lesbian love. Her works have been translated into English, Portuguese and Italian and in 2012 she was considered one of the most influential Latinamericans in Spain. Biography María Fernanda Ampuero was born in Guayaquil, Ecuador, in 1976. Is a professional writer. Studied at the Catholic University of Santiago de Guayaquil, where she shared classes with writers such as Solange Rodríguez, Luis Carlos Mussó, María Paulina Briones, among others.

Ampuero showed interest in books since her childhood. After finishing her secondary studies she decided to study literature at the university. She entered this race for affinity, but aimed to be a teacher for a living. “I studied to teach. I liked to write, read, and had to make a living of it ”.

A journalism workshop, dictated by BBC journalists, represented an important opportunity for Ampuero. In the workshop radio production was dictated, a discipline that was very distant to the author. However, in the course, Ampuero found a space to make small Chronicles (journalistic genre) and tell stories. Of the members of this workshop, only the Guayaquil ended up working as a journalist.

She entered the newspaper El Universo, the entity in charge of the radio station. Was also included in the economics section, which was not liked by Ampuero. “They put me in economics. This is an absolutely horrible part of my life, which I remember with horror ". However, hes talent did not go unnoticed by the editors, who gave her the opportunity to write stories of her taste, colorful and human topics." I was in my comfort zone, because they were close and human subjects. It was very funny, in the first person, I went to the recesses of the city to explore… ”

In December 2004 Ampuero traveled to Spain with the intention of witnessing the migration process of the early 21st century, which influenced the lives of the inhabitants of both countries. She found a culture completely alien to her and was included in the category of "foreigner." “Being a poor foreigner is what it is to be an immigrant. She has nothing romantic or anything attractive, interesting, or folkloric. ” In Spain she did not have the facility she expected to find a job, but she managed to make her way in Madrid with her writing.

In 2012, she was selected among the most influential Latinamericans in Spain.

Published in 2011 What I learned in hairdressing and in 2013 Residence Permit.

She also won the Ciespal Chronicle award and the International Migration Organization (IOM) for the Best Chronicle of the year.

Also published a series of stories and articles in the "Cartón Piedra" section of the Ecuadorian newspaper El Telégrafo.

In 2018 she published her first collection of stories, Cockfight, where she portrayed the harsh reality that exists in the Americas, problems of violence, inequality and hypocrisy of society that is lived every day globally. The language with which the work is handled is outside of being related to some idiom or jargon that identifies in which nationality the history of the characters takes place, making it possible for the reader to relate it to their environment.