*3.5.4 Conflict with a specific person*

Identification of a conflict with a specific person.

### *3.5.5 Conflict with the future*

*Narrative Transmedia*

**3.2 Linguistic precision**

**3.3 Accessible language**

*3.5.1 Self-conflict*

ate doubt or possibility to ambiguous interpretation.

**3.4 Characters as basic elements of storytelling mindfulness**

**3.5 Taxonomy of conflicts in storytelling mindfulness**

self-imposed, or excessive responsibility.

*3.5.2 Conflict with the environment*

*3.5.3 Conflict with the past*

itself in the present recurrently.

*3.5.4 Conflict with a specific person*

There are five possible types of conflicts in formal practices.

past in order to obtain a healthy relationship with that territory.

Identification of a conflict with a specific person.

A conflict with itself occurs. The narration of meditation has the objective of self-healing and resolution of internal conflicts. An example of this would be guilt,

There is a conflict with a place, a space, a scenario, a city, a village, a neighborhood, a country, a real territory or an imaginary environment. The narration of meditation aims to heal and resolve conflicts manifested through the environment. Storytelling mindfulness has the objective of solving this conflict anchored in the

There is a conflict with a concrete event of the unresolved past that manifests

The narrative verbalizations of the meditations should express what one really wants to express. As guiders of meditation it is vital not to allow the mind to gener-

It is recommended in the process of storytelling mindfulness to use a language that is not too sophisticated or technical. Ideally, it can be understood by any target. Although it is highly recommended not to flirt with a crude or rudimentary language.

When creating a narrative in the form of meditation we must take into account the characters as essential elements for the creation of this narrative process. The characters make us relate to them, with links of identification, opposition or projection. In meditations, or storytelling mindfulness we consider characters to be the manifestation of a conceptual, metaphorical or conscious representation of a sensation, thought or emotion. Some examples would be: a recurrent thought, an expansive emotion, a contractive emotion, a latent feeling in our body, etc. Through storytelling mindfulness we pretend that they acquire a character category so that they can be granted a route and a dramatic curve in the narrative. For all this, a character and its manifestation gives us a series of keys in relation to the environment. The characters can be defined as protagonists. For example, a contractive emotion or an expansive emotion. The presence of both is important in order to obtain the learning processes in each storytelling mindfulness.

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There is a conflict in the form of concern about an event in the future. Since it has not happened, it is a conflict focused on suffering, and not on the pain that is a present ailment.

#### **3.6 Archetypes, myths, and rites as elements storytelling mindfulness**

Archetypes are the primal models of storytelling mindfulness that are essential for the narration of our meditations established by Kabat-Zinn. Conceptual forms that represent an ideal form and that are shared, in the essential, by all schools of mindfulness and that, in one way or another, must be present in the narrations and in the meditations. They represent ideas or personalize ideals. They have modeling value. They carry symbolic and spiritual charge: not to judge, patience, beginner's mind, confidence, not to insist on effort, acceptance, release and kindness [6].

Myth: it is an exemplary story. Something that happened in a remote or fictitious time but that can happen again at any time. According to Núñez, a myth is an exemplary, sacred and significant history that has given meaning to the existence of man since the beginning of time [1]. In the narrations of the meditations you can connect with an exemplary story that happened at some point of our existence and that can inspire us to feel one way or another in formal practice. The elements of nature are recurring symbolic elements that allow us to connect with this type of experiences in meditation. An example of this is found in the meditation of the mountain, in which we can experience the seasons and their impact on their different zones and the orography of the same. This type of stories could connect us with the profound wisdom of this type of scenario [11].

Rites: according to the storytelling specialist, Antonio Núñez [1], if you make your story possible a rite, you convert users or recipients into walking stories. It is a way to experience our history and meditation. The return of our focus attention to the sensations of our body through a ritualized history is a wonderful methodology to connect with the present, leave the internal dialogue of our thoughts, getting the meditation to become an assumed and fully liturgical experience. An example of this is the optimal sequence of the meditations that, as a rite, we connect in the first minutes with our body in a holistic way, with the deep sensations in the senses and finally in the attention on breathing (abdomen, chest, mouth and nose). Especially significant is its application on attentional meditations, although it can also be used on generative and deconstructive ones [11].

#### **3.7 Productive economy**

The materialisations of the meditations should be focused on a direct and explicit approach, without too many descriptions or too many descriptive nuances. The mind by nature is already scattered with 60,000 thoughts in a day, such as to create ambiguous and scattered storytelling mindfulness. Messages that economize the process of history [10].

#### **3.8 Narrative sensoriality**

The processes of storytelling mindfulness must connect mainly with our senses. Each receiver has a predominant channeling of some senses over others. In order to establish connection spaces with all the senses, our mindfulness narrations must contain a direct reference to the senses with the intention of opening stimulation spaces in the different sensory channels. An example of this would be: "feeling our mind," "listening to our expansive emotion," "smelling the fragrance of our attention" [11].

#### **3.9 Narrative gerund**

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

#### **3.10 Typology of storytelling mindfulness**

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 show the following subdivision of narrations [7].

#### *3.10.1 Narration of focused attention*

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 that narrative space [11].

#### *3.10.2 Open monitoring narration*

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].

#### **3.11 Determining and nonpossessive items**

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 the thoughts more easily and fluently.

#### **3.12 Metaphors**

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

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*Storytelling Mindfulness: Storytelling Program for Meditations*

we need to create a different metaphor to describe the commitment of the viewer with the narrative complexity [12]. In this way the creation of different metaphors of our emotions is an optimal manifestation of the feelings in the body [22].

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,"

It was the Russian Vladimir Propp (1971) who analyzed the folk tales until finding the recurrent and organic structure in all the popular narratives to be able to extend them to other scenarios. He came to define 31 constant points in his structural analysis [23]. A story advances in links. Each link marks a change, it is an event, a "beat." One of the essential aspects in the storytelling process is the figure of the hero in this type of narrative. Following Núñez and our pragmatic research, this would be

the efficient structure of the story of the hero in storytelling mindfulness [1].

We have discovered an inspiring analogy between the conceptual story of the conventional hero and its application in the storytelling mindfulness environment.

Reflecting the daily life of the character. Storytelling mindfulness shows credible manifestations to solve and heal aspects linked to everyday life. In previous research

A signal that leads to change. Mindfulness storytelling linked to meditations connected with courage and internal evolution, to be able to change settled contrac-

Doubts when leaving the ordinary world. It is materialized through the internal resistances manifested through thoughts, emotions or sensations that do not allow evolution. It is important the appearance and acceptance of this rejection to be able to heal. The more you fight to make certain broader and more settled thoughts or emotions disappear, you make these emotions. The acceptance of resistances is the

Someone who prepares you for adventure. This manifestation after rejection is a way to connect with our healing self, an encounter with our inner teacher. It is a way

*DOI: http://dx.doi.org/10.5772/intechopen.86778*

**3.13 Frequency of acceptance**

"grant the tension in your mind" [13].

*3.14.1 The ordinary world*

*3.14.2 The call to adventure*

*3.14.3 The rejection of the call*

**3.14 Structure of storytelling mindfulness**

we have applied it to current conscious leaders [14].

tive emotions and possible processes of resignation.

first step for healing through meditations.

*3.14.4 The meeting with the mentor*

we need to create a different metaphor to describe the commitment of the viewer with the narrative complexity [12]. In this way the creation of different metaphors of our emotions is an optimal manifestation of the feelings in the body [22].
