**3.13 Frequency of acceptance**

*Narrative Transmedia*

**3.9 Narrative gerund**

"experimenting," "checking" or "feeling" [11].

**3.10 Typology of storytelling mindfulness**

show the following subdivision of narrations [7].

*3.10.1 Narration of focused attention*

that narrative space [11].

*3.10.2 Open monitoring narration*

**3.11 Determining and nonpossessive items**

the thoughts more easily and fluently.

**3.12 Metaphors**

It is highly recommended to stimulate the sensoriality of the receptors of storytelling mindfulness the use of verb forms in gerund because it allows a greater stimulation of the senses in a very explicit way, and invites a direct connection without digression. An example of this would be: "Accepting," "connecting,"

The most complete and complex model to apply to our storytelling mindfulness research is that of Dahl and his collaborators [5]. From this perspective types of mindfulness storytelling types are the following: attentional storytelling, constructive or generative storytelling and deconstructive storytelling. They seek to manipulate the orientation and opening of the attention and the narrative, as well as to monitor and detect it, unhooking it from the distractors to reorient it towards the chosen object. These techniques develop metacognition, which would be the cognitive function that allows to be aware of the process of consciousness. In the absence

of metacognition, one is fused with experience. It is a way to fuse with

the plot of a film and a narrative and an experiential fusion takes place. Next, we

It aims to narrow the narrative focus of attention to develop unidirectional concentration in a single object, or meditative element. An example of this would be the creation of a storytelling mindfulness that focuses on a more focused field of attention such as our forehead. All storytelling mindfulness development focuses on

It is a kind of storytelling mindfulness in which it consists in directing attention to the thoughts, perceptions and sensations that appear in consciousness as a result of our history. An application that has a direct impact on creativity levels [9].

Storytelling mindfulness connects with internal spaces of consciousness that should enhance observation without identification. Therefore, we recommend the use of determinant and nonpossessive articles in the creation of meditations. The use of possessive items would clearly generate an identification with the body and a very direct attachment is the body and we would immediately become attached to

We use metaphors when we explain a reality with another reality. It is a transfer of meaning. It is probably the rhetorical figure par excellence, and the most used. In storytelling mindfulness is a figure that allows to connect in a subtle way through the representation of forms. The symbolic formalization of emotions through shapes, colors, textures, is a very operative morphology to express and heal emotions [9]. Jenkin's research in storytelling establishes as a key the process in which

**32**

It is highly recommended that the storytelling mindfulness language suggests acceptance and not fight. When we struggle with a contractive emotion, and we do not accept the presence of emotion, it becomes much stronger in our body and in our being. It is highly recommended that no effort be made about emotion, and of course the attempt to eradicate it. For example, in storytelling mindfulness to release stress it is important to accept the contractionary emotions and not fight with them. An example of this would be: "accept an emotion of grief," "cradle sadness in your body," "allow contraction," "grant love," "grace the anger in your chest," "grant the tension in your mind" [13].
