Intangiblia™
#1 Podcast on Goodpods - Intellectual Property Indie Podcasts
#3 Podcast on Goodpods - Intellectual Property Podcast
Plain talk about Intellectual Property. Podcast of Intangible Law™
Intangiblia™
From Spark to Impact, the Conscious Path of an Idea
In this special episode, Leticia Caminero steps into the guest’s seat to explore the ideas behind her book Protection for the Inventive Mind. Through an honest and reflective conversation, she shares how creativity, human-centered design, and intellectual property come together to turn fragile ideas into real, sustainable value. This episode is an invitation to think differently about innovation, protection, and the courage to build with intention.
Ever had an idea feel bright in the shower and dim by lunchtime? We open the door to a different path: a living, pencil-in-hand guide for taking an idea from spark to market with intellectual property as structure, not handcuffs. Leticia moves from host to guest to share why she wrote Protection for the Inventive Mind and how it helps creators make small daily moves that reduce anxiety, protect originality, and build sustainable income.
We walk through the mindset shift that turns books into workspaces and readers into builders. Instead of chasing a finish line like “file the patent,” we reframe protection as a bridge to value—licensing, partnerships, investment, and fair deals. You will hear how to sequence complexity, choose what to cut without losing the soul of the idea, and align patents, utility models, or industrial designs with a clear strategy. The String of Thought method takes center stage: an honest chain that captures fear, sparks, contradictions, and breakthroughs without polishing too soon. That chain becomes both creative x-ray and strategic map, revealing what deserves protection and where the market fit can take root.
From user-first thinking to documentation practices that stand up in conflict, we stitch together design thinking, practical IP, and monetization in a humane way. This is about creative justice: giving your idea the structure it needs to breathe, be recognized, and be paid. If you are tired of vague advice and hungry for a process that respects both magic and rigor, this conversation will meet you where you are and move you one concrete step forward today.
If this episode helps you see your idea more clearly, share it with a friend who needs a nudge. Subscribe, leave a review, and tell us the next small step you will take.
Check out "Protection for the Inventive Mind" – available now on Amazon in print and Kindle formats.
The views and opinions expressed (by the host and guest(s)) in this podcast are strictly their own and do not necessarily reflect the official policy or position of the entities with which they may be affiliated. This podcast should in no way be construed as promoting or criticizing any particular government policy, institutional position, private interest or commercial entity. Any content provided is for informational and educational purposes only.
The possibility of a single person this book might inspire, just one, is enough for it to exist. Because if an idea rescues you or brings order inside you or gives you back courage, then that idea has already done what it needed to do. And I wanted to create something like that. Something that speaks to the part of you that creates, that doubts, that gets tired, that stands back up and that tries again. That was the moment I said this book has to exist.
SPEAKER_01:You are listening to Intangibilia, the podcast of Intangible Law. Plain talk about intellectual property. Please welcome your host, Leticia Caminero.
SPEAKER_02:Welcome to Intangibilia. Today we are going to do something different. This is Artamisa speaking, your favorite synthetic co-host. The guest of today's episode is known as an intellectual property lawyer, as an interviewer, and as the creator of this podcast. I also know her as something closer. My human host with a cloned voice, Leticia Caminero. Today we are switching seats. Letitia is now the interviewee, and we are going to talk about her new book, Protection for the Inventive Mind. The book debuted as an Amazon top release, meaning it was featured among Amazon's new releases. Protection for the Inventive Mind is a book about creativity, a practical guide to innovating, protecting ideas, and monetizing them. It is a very hands-on map that takes an idea from its first spark to the market with a clear head, a brave heart, and an intellectual property strategy that protects without holding you back. We are going to talk about creative fears, about how to design a book that is used with a pencil and not just with your eyes, and about why legal protection is not the end of the road, but rather the bridge toward fair and sustainable monetization. If you have ever had a good idea but don't know where to start, this episode is for you. Letitia, welcome to your own podcast.
SPEAKER_00:Thank you very much, Artemisa. It is lovely to have you back. After the feed season, we did together 30 episodes, generated entirely with artificial intelligence, a real adventure. Now to close season six, the first video season recorded at Nonaime Agency here in Geneva with outstanding professionals from the region. We are returning to our AI format.
SPEAKER_02:That's right, dear Letitia. I am back with you to bring the synthetic flavor that defines me. Let's begin the interview. Before diving into the content of your book, Protection for the Inventive Mind, what was the precise moment when you said this book has to exist? What real problem in the lives of creative people were you seeing over and over again that led you to write it?
SPEAKER_00:There was a very clear moment, almost uncomfortable, when I realized I was seeing the same pattern repeated again and again in brilliant people, entrepreneurs, inventors, artists, professionals, with ideas that could change their lives. And the hardest part was that the problem was not a lack of talent, it was a lack of a map. People arrived with that divine spark, with that feeling of I have something. And at the same time, they arrived carrying guilt for not knowing where to begin. Or they arrived with fear, with shame, as if not having a process were a personal failure. And I thought, this is not an intelligence problem. This is a structure problem. It is like asking someone to cross a forest at night without a flashlight and then judging them for getting scratched, lost, or turning back. I saw two small tragedies that together became a huge one. The first, people who have something valuable but abandon it before giving it form because they do not know how to sustain the idea once it stops being exciting and becomes work. The second, people who do work, who do create, who do produce, but end up without protection, without strategy, without monetization, because no one taught them how to connect the creative act with the act of building value. That was when I told myself this cannot just be a loose piece of advice in a consultation or an episode or a talk. This needs to exist as a companion, as something that does not scold you, does not talk down to you, does not tell you do this because I know more. Something that takes your hand and says, step by step today, this is all that matters. The exact moment was when the book was still just a draft, a very small draft of 40 pages. It was almost nothing, just an idea taking shape. And someone very close to me, someone I admire deeply, Maria de Casa, read it and told me a sentence that went straight through me. She said, This book is important. The world needs it. We all need it. Do not stop working on it. I do not know if she understands what she did with that sentence, because it stayed with me like a small light that never turns off. There were truly dark nights. Nights when I felt the book had no end, that something was always missing, that it was not ready, that I was not ready. Nights when a demanding mind can destroy your illusion. And on those nights, I thought about Maria, I thought about the fact that someone had already seen the value when it was still a draft. And that taught me something that is almost a philosophy for me now. The possibility of a single person this book might inspire, just one, is enough for it to exist. Because if an idea rescues you or brings order inside you or gives you back courage, then that idea has already done what it needed to do. And I wanted to create something like that, something that speaks to the part of you that creates, that doubts, that gets tired, that stands back up and that tries again. That was when I said this book has to exist.
SPEAKER_02:This is not a book to read just once, but a space to work in. What shift in mindset does someone need to make when they open it for the first time to use it as a working notebook rather than another theoretical creativity book?
SPEAKER_00:The first thing that has to happen when someone opens this book for the first time is a gentle but profound shift. They need to stop seeing it as a book that you finish and start seeing it as a space that you live in. We are trained almost from childhood to think that reading is consuming. I finished the book as if the value were in reaching the last page. But this book is not designed for you to applaud me for writing something beautiful. It is designed for you to meet yourself, pencil in hand, to leave marks, to underline, to write in it, to use it even on bad days. I want the person who opens it to feel permission, permission not to do it perfectly, permission not to understand everything on the first read. Permission to return to an exercise three months later and discover that the answer has changed. That is real growth. This book is meant to be work with, to grow with, to dream with. It is a companion, not a trophy, not a theory. It is the notebook you open when a crazy idea hits you in the shower. Or when you are in a meeting and suddenly think, wait, this could be something. It is a place where an idea does not die from lack of attention. And to make the most of it, you have to adapt a very specific mindset. The mindset of process. People become obsessed with results, patents, trademarks, sales, success, recognition. And yes, of course, we want to get there. But what I have seen again and again is that what kills ideas is not a lack of talent, but a lack of support. An idea becomes fragile when it has nowhere to land. So the shift is this. Instead of asking, will this work, ask what is the smallest next step I can take today, not tomorrow. Today, one exercise, one page, one decision, one small moment of clarity. And there is something very personal here as well. I do all my projects in Spanish and in English, not only because of rich, although rich matters a lot. I do it because I want my message to reach as many people as possible, yes, but also for something more intimate. I want my parents to understand what I do. I want them, who are the reason I am the professional I am today, to be able to read it, to share it. I do not want my achievements to live in a language they cannot access. I want them inside to feel it close, to embrace it. So when someone opens this book, I want them to feel the same thing: closeness, not to feel excluded, not to feel that this world of creating and protecting is only for special people. No, it is for you. If you have an idea, if you have something you want to build, this book is your space. You are not coming to read, you are coming to do.
SPEAKER_02:In the book, design thinking, creativity methods, intellectual property, and emotional exercises coexist. How did you decide what to keep in and what to leave out? Was there anything that hurt to cut?
SPEAKER_00:Because I am someone who loves ideas. And when you love ideas, you want to include everything. You want to give context, examples, history, theory, you want to protect the reader from every possible mistake. And there comes a point where that stops being helpful. I had to make a very clear decision. This book could not be an encyclopedia. Entry had to be a path. So how did I decide what state? I guided myself by three criteria. First, does this give the reader action or does it only give information? Information can be precious, but if it does not turn into movement, it stays beautiful and nothing more. I wanted movement. Second, does this reduce anxiety or increase it? Some content, even if correct, can be intimidating, not because it is bad, but because it arrives too early. There are things an inventor needs to know, just not on day one. So I had to sequence complexity. Third, does this protect creativity or crush it? Because there is a way of talking about intellectual property that feels like a wall, like bureaucracy, like fear, like do not move. And I wanted the opposite. I want a protection to feel like freedom, like a breach, like structures that allows you to dare. And did anything hurt to cut a lot? It hurt to cut sections where I explained technical aspects in great detail because my lawyer instinct is I will explain everything so you do not get lost. But I had to explain everything, it's not always caring. Cut stories, and I also hurt to cut stories because I love storytelling, and stories are how I teach. But this book is not a podcast. This book has to work when you are alone at 11 at night with your idea and you need clarity. In that moment, a long story can be beautiful, but a well-designed exercise can save your project. And I will tell you something: cutting was not just an editorial decision, it was emotional. Cutting meant accepting that this book was not going to be a monument to my knowledge, but a tool for someone else's life. And that, as beautiful as it sounds, is also a blow to the ego because you want to shine, you want to prove yourself, you want everything you know to be visible. And here the goal was different. The reader had to shine. There is a part of the creative process that is rarely talked about, and that is grief. Grief for what does not make it in for what you live out, even though it was good for what you love but was not necessary. But that grief carries a lesson. When you protect an idea, you are also editing it. You are saying, This yes, this no. And that ability to choose is part of creative maturity. This book taught me how to choose with love.
SPEAKER_02:Many people believe that registering their invention or design is the end of the road, but in your book, protection is only one part. What is commonly misunderstood about the relationship between creativity, legal protection, and monetization?
SPEAKER_00:I think the most common misunderstanding is this. People think protecting is finishing, as if registering a design or filing a patent application were the final goal, as if the legal act were the closing chapter. And what I have seen in reality is that very often it is just the beginning. Protection is not an ending, it is a foundation. And the problem is that when you believe protection is the end, you feel done too early. You think that's it, and then you do not do what actually generates income: building a product, building a market, building a story, building a commercial strategy. On the other hand, there's the opposite extreme. People who think monetization means selling fast and see protection as a waste of time, as a luxury, as something you do once you have money. And that mindset can be incredibly expensive because when you do not protect, you have no leverage, no control, no ability to negotiate from strength, and worst of all, sometimes you do not even know what it is you are actually selling. Intellectual property, when properly understood, forces you to do something that is both difficult and wonderful. Define your value. What is original here, what is distinctive, what cannot be easily copied, what can you license, franchise, transfer scale. Monetization is not just selling. Monetization is designing a system where your idea has continuity, where it does not depend on your endless energy where one day you can rest and the idea still has life. And legal protection, when aligned with the strategy, makes that possible. That is why this book insists so much on protection as a bridge, because it connects you to income, it connects you to investment, it connects you to negotiation, it connects you to creative dignity. I want people to stop seeing the law as a threat and start seeing it as a tool, not as a brick, but as structure, not as something that takes freedom away, but as something that allows you to say, This is mine, and now I can decide what to do with it. And I come back to what I said earlier. This book is a companion because ideas often begin as a sketch, a scribble, something you do not even take seriously yourself. And that is the most vulnerable moment. The moment when you need someone to tell you, keep going, work on it, give it form, make it real. This book walks with you from that wild idea to an asset, to a pattern, a utility model, an industrial design. Um, and yes, to income, not because paper magically creates money, but because with structure, clarity, and protection, you become capable of turning creativity into sustainable value. And for me, that is creative justice.
SPEAKER_01:Intangible, the podcast of intangible law. Plain talk about intellectual property.
SPEAKER_02:The exercise string of thought is central. It is the exercise you did with attendees at your book launch a few days ago in Geneva. If you had to explain to someone who has never seen it what makes it different from a traditional mind map, what would you say?
SPEAKER_00:The string of thought exists because a traditional mind map, while useful, often stays on the surface. It organizes ideas around a theme, as if the mind were a neat, orderly tree. And that can help, but it is not enough when an idea truly matters. When an idea matters, it does not arrive clean or structured. It arrives with noise, with fear, with contradictions, with moments of clarity followed by doubt, with parts we are afraid to write down because they sound naive, exaggerated, or too fragile, and with strange connections that disappear forever if we judge them too early. But that is why the string of thought does not try to organize first, it tries to reveal, it works like an unbroken thread, a path traced through very honest, very concrete questions, where every yes leaves a mark and every no forces you forward without guilt. Because this is not about filling in boxes, it is about discovering the real path your mind is already walking. The string of thought respects that the inventive mind does not think in straight lines or clean hierarchies. It thinks in sparks, associations, memories, failed attempts, small advances. And this exercise gives you permission not to correct yourself while you think, not to beautify the idea, and not to turn it into a polished speech too early. It invites you to follow the entire thread, question after question, problem after problem, insight after insight, obstacle after obstacle, until what remains on the page is not a pretty diagram, but the honest story of your creative process. And that is where something deeply transformative happens. You start to see patterns, places where your energy flows, places you avoid, moments when the idea strengthens, and moments when it weakens. You begin to distinguish what is essence and what is decoration, what truly moves you and what only sounds good. And at that point, the string of thought stops being just a creative exercise and becomes strategic because it shows you where there is a real technical solution, where something truly noble appears, where a design with value emerges, a concept that can be protected, a proposal someone would actually adopt or pay for. And it does all of this without killing the initial magic, without shutting down intuition. It is as if the exercise gently tells you first release, then decide, first release, then connect, first create, then protect. And there is also something deeply emotional about seeing your full chain because when you look at it, you realize you were not lost, you were in process, and that difference is enormous. Many people abandon valuable ideas not because they are bad, but because they mistake confusion for failure. And it is not. Confusion is part of the natural birth of something new. The string of thought stays with you right there when the idea is still vulnerable, when it needs space to grow without being crushed by expectations. Fear or premature rules. That is why this exercise is not rigid, it adapts to you, it holds you, it reflects you. And that is why the entire book is built around this philosophy. It does not seek perfection, it seeks possibility. It does not seek immediate answers, it seeks movement. And if in the end this chain allows someone to hold on to their idea one more day, to look at it more honestly, to protect it in time, to make better decisions, to turn it into something real and sustainable, even something that generates income, then that thread has fulfilled its purpose because in that moment, the idea stops being a loose thought and becomes a future that has already begun to walk.
SPEAKER_02:We now move to the most fun part: a flash round. I will give you two options in each question, and you have to choose one without overthinking it. To begin the journey of the book, what is more decisive? Identifying the problem or identifying the user? The user, always the user. Does it matter more to organize ideas or to reveal new angles of the idea?
SPEAKER_00:To reveal new angles of the idea. Play with it.
SPEAKER_02:When choosing a protection route, does the function of the creation matter more or the external form of the product?
SPEAKER_00:Both can be protected. No, Artena, I cannot choose. Come on, lawyer, choose. Many times design outweighs function. Ah, I can see your neurons fighting.
SPEAKER_02:You're making this difficult. In the strategy section, who advances further? The person who defines the differential value first or the one who defines the target market first?
SPEAKER_00:Value. Because creation can generate a new market.
SPEAKER_02:For monetization, according to the book, which is more effective? A well-negotiated license or a well-positioned direct sale?
SPEAKER_00:Both. I would not choose here. Both.
SPEAKER_02:All right. I will give you that one. In the documentation section, is it more useful to register the process step by step or to register the major changes to the idea?
SPEAKER_00:Register everything today. We have many technologies available to document the process. In the event of a legal conflict, it is very helpful to have documentation that is organized and ready to support us.
SPEAKER_02:Which type of intellectual property is better? A patent, a utility model, or an industrial design?
SPEAKER_00:No, impossible. That cannot be done. All of them are great. The three you mentioned, which I cover in the book, and the others I will address in future books as well.
SPEAKER_02:Fair enough. Was worth asking. You never know. Maybe you secretly have a favorite form of intellectual property.
SPEAKER_00:I apply the rule that mothers do not have favorites.
SPEAKER_02:To decide whether it is worth protecting an idea, do estimated costs matter more or potential income opportunities?
SPEAKER_00:It depends on each person's economic reality. It will be very easy for me to say that income opportunities matter more, but sometimes we have to live within our means, and other times we can afford to be bolder.
SPEAKER_02:In market validation, does it help more to compare competitors or to compare the real needs of the user? The user, always. To close this flash section, what makes a bigger difference, commercial strategy or long-term sustainability strategy? Long-term. We continue with another fast-paced dynamic. I will read 10 scenarios related to creativity, intellectual property, and innovation. You just need to say whether they sound like true, something that is already happening or beginning to happen, or futuristic, something that may come later or perhaps never.
SPEAKER_00:How sweet of you explaining the game I invented.
SPEAKER_02:I am not explaining it for you. It is for our listeners. Future creators will start every project with a structured intellectual property map as essential as the initial sketch of the idea. Before protecting a creation, innovators will run market simulations that predict whether the idea deserves a patent, a design, or a utility model. Intellectual property will be taught globally through visual tools and practical exercises as a universal standard. Creatives and entrepreneurs will negotiate licenses with the same ease with which they negotiate sales prices today. Intellectual property will be a mandatory subject in all university degrees, from engineering and design to humanities and business. Basic protection knowledge will be taught the same way writing or research is taught today. Futuristic, but I hope not too far in the future. AI systems will help draft initial versions of patent, utility model, and industrial design applications based on a creator's description of the proposed idea.
SPEAKER_00:True. In my book, I include tools that can already assist inventors with these steps.
SPEAKER_02:And now the final question: if every person who read your book adopted a single practice that would forever change the way they turn an idea into reality, what would that practice be and why would it so profoundly transform the way we innovate?
SPEAKER_00:Learning to think about a real person before falling in love with a solution. Posing to ask with deep honesty, who is this really for? Not an abstract user, not a generic market, but someone concrete with a name, a context, limitations, and real frustrations. That seemingly simple shift completely transforms how we innovate and how an idea survives in the real world. When an idea is born only from the mind of its creator, it may be brilliant but fragile, becomes sensitive to criticism, breaks easily, and defends itself instead of evolving. But when an idea is anchored in another person, in their needs, in how they live and decide, it stops being an ego exercise and becomes an act of service, and that changes everything. Because the question is no longer, is my idea good? But does this improve someone's life? And that question forces you to listen, to observe, to step outside yourself, and to accept that what we imagine does not always match what someone else needs. Thinking about the user from the beginning changes creativity because it introduces humility. And humility is an incredibly powerful creative force. It allows you to correct before failing expensively, to iterate without feeling like you are betraying your vision, to let go of beautiful ideas that do not work and keep simple ones that do. Is also connects directly to strategy because when you understand who you serve, you see more clearly what is worth protecting, what is worth developing, and what has real potential for adoption, income, and impact. Human-centered design creates innovation with roots, not ideas floating around waiting for approval. And it also transforms the person who creates. Because when you work thinking about someone else, fear changes shape. It stops being fear of failure and becomes responsibility. And responsibility sustains more than fear ever could. It brings you back to the idea when you are tired, helps you improve it when it receives criticism, and makes you protected, not out of pride, but because you know it might matter. If we all adopted this practice, we would innovate in a more ethical, more sustainable, and more generous way, with less noise and more meaning, with fewer products seeking attention and more solutions, seeking to solve something real. And in the end, that is what turns an idea into reality, not just that it exists, but that it finds a place in someone's life and stays there.
SPEAKER_02:Thank you, Leticia, for such a clear, honest, and tool-filled conversation. For those who have listened to you for years as an interviewer, seeing you on the other side today was revealing, understanding how you think about the creative process from the inside. Your book does more than explain how to protect an idea. It teaches something deeper. It teaches how to organize the mind, understand the user, make intentional decisions, and value creative work as a real asset. And that in any field is life-changing. To everyone listening, if you have an idea you have been postponing, a project tucked away in a notebook, or simply the curiosity to begin something new, this book is an invitation to take the first step with clarity and strategy. Letitia, thank you for sharing your vision and for reminding us that creativity can be protected, planned, and brought to market intelligently. And to all of you, thank you for joining us in this special episode of Intangibilia. We will hear each other again very soon.
SPEAKER_01:Thank you for listening to Intangibilia, the podcast of Intangible Law. Plain talk about intellectual property. Did you like what we talked today? Please share with your network. Do you want to learn more about intellectual property? Subscribe now on your favorite podcast player. Follow us on Instagram, Facebook, LinkedIn, and Twitter. Visit our website www.intangibilia.com. Copyright Leticia Caminero 2020. All rights reserved. This podcast is provided for information purposes only.
