November 12, 2025 • 12 mins
John Grisham is back, but with a bit of a twist.
His legal thrillers made him a bestselling author but his latest novel is a bit of a departure, a whodunnit murder mystery titled ‘The Widow’.
Grisham writes his novels in a slightly unorthodox manner, starting with the end and looping back around.
“I learned the hard way years ago,” he told Mike Hosking.
“I wasn’t sure how to end the book, and so you keep writing, and you can’t get to the end, and you boxed yourself in a corner.”
“I’m not gonna waste time like that, I’m gonna know the ending when I start, and if you know the ending, it’s hard to get lost.”
Despite starting with the ending, the conclusion to ‘The Window’ is not the one he initially wrote, as his wife wasn’t a fan.
“It was risky,” Grisham explained.
“This one just didn’t work, and my wife said, hey buddy, this is not gonna work."
“I sent it to my publisher and to my editor in New York, and they agreed and when all three of them lined up against me, I can't, I can't argue.”
So he changed the ending, writing 25,000 more words in the month of January in order to get the novel finished on time.
“I think it’s important to listen to people you trust,” he said.
“You’ve gotta have a reader you trust, somebody who loves you and wants to see you succeed, but will be brutally honest with you.”
Grisham has written over 50 books in his career, all bestsellers, and he says the secret is writing what he likes.
“I write for myself, because I know what has worked,” he explained.
“I know the stories I want to tell, and so far, those are the stories people want to read.”
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Time for a catch up with one of our old mates.
John Grishap was last we us on a project where
he helped people wrongly convicted that you may remember. Now
he's back in the world of fiction. And another first
days in the business, this time of a who Done It?
This is the Widow it's out now and John Grisham's
with us morning.
Speaker 2 (00:15):
Happy to be here mate, good seeing you again and.
Speaker 1 (00:17):
To you too. And I don't want to make it
too personal, but last time we talked, you were heading
towards a big birthday and you said, well, maybe it'll happen,
maybe it won't. My wife will put it on old
turn up whatever. Did anything happen?
Speaker 2 (00:28):
No, we had a fancy dinner with about twenty friends
and it was low key and most folks behaved and
we had good food and good wine. So I turned seventy.
Speaker 1 (00:37):
Well what more can you ask in life? Are you
grateful in moments like that? Given all your success?
Speaker 2 (00:42):
I'm grateful every day. Every day is another blessing. You're
lucky to be here. You know, when you turn seventy,
you realize you're getting older, but you also sadly realize
you're losing so many people along the way and it's
just thankful for being here man today.
Speaker 1 (00:56):
Yeah, but you look healthy and well.
Speaker 2 (00:59):
Well, so far, so good. So do you.
Speaker 1 (01:03):
Tell me about the widow? And so I was watching
one of the interviews you did on the American networks.
I didn't realize this. You start at the end. Is
that how it works? You've got your conclusion before you
go back.
Speaker 2 (01:13):
Almost always. I learned the hard ware years ago with
a book. Asked my first novel. I wasn't sure how
to end the book, And so you keep writing and
you can't get to the end, and you box yourself
on a corner, and writers do it all the time.
I said, I'm not going to waste time like that.
I'm going to know the ending when I start. And
if you know the ending is hard to get lost.
Speaker 1 (01:33):
Okay, So you had an ending and you wrote the story,
but then your wife comes in, your publishers coming. I
also saw, now I've heard two stories here. You had
an ending you liked, but then your wife said you
didn't like it. But then I saw you say I
had an ending I wasn't too sure about, and my
wife said she didn't like it.
Speaker 2 (01:49):
I'm not sure how much I liked it was it
was risky. A few times I've done endings that are
pretty risky. It's not what the reader expects, which I
kind of like, but it's said, you know, this one
was just just didn't work. And my wife said, hey, buddy,
this is not gonna work. And I listened to her.
Speaker 1 (02:06):
Okay, do you listen to her because she knows what
she's talking about, or she's always right, or you need
some sort of second opinion from the publisher, or.
Speaker 2 (02:14):
I would never say she's always right. You can't do
it in a happy marriage. You can you can never
admit that the other person's always right. She's usually right right.
And so she didn't like the ending. I sent it
to my publisher and to my editor in New York
and they agreed, and it went. All three of them
line up against me. I can't argue, So I just
changed the ending. I kept writing. I wrote twenty five
thousand more words in the month of January under the
(02:36):
gun to get it finished, and it worked out fine.
Speaker 1 (02:38):
So okay, so two parts out of that when somebody said,
given who you are, I don't like that, is that
is that popping an ego?
Speaker 2 (02:48):
No, I still listen to people I think it's important
to listen to people you trust. I don't care where
you are in life. You never get too big to
where you you don't listen to people you trust. And
I've always listened to my wife, my agent, and my editor,
and several times, not just this, but a lot of things,
a lot of stories. I write a lot of op
ed pieces, a lot of magazine articles, and my wife
(03:10):
always reads them first, and she always has comments. But
you know, I value that input. And I tell young
writers you got to have somebody. You gotta have a
reader you trust, somebody who loves you and wants to
see you succeed, but who'll be brutally honest with you.
You got to have that in life.
Speaker 1 (03:24):
And the second part of that question, when they said it,
did you see it? Or did it take some time?
Speaker 2 (03:30):
Uh? You know what I got. I was under the gun,
which is good when you write suspense. It's it's best
to be under the gun, to be to be nervous,
to be to be working over time. And I had
I had an idea for good ending, an the second
ending it worked out much better.
Speaker 1 (03:47):
Right, And so as you would write, did it flow
twenty five thousand words? Did it just flow big time.
Speaker 2 (03:53):
It was really that. That's a very fast paced. Twenty
five thousand words in one month is a lot. But
it was January. You know, the days short, the weather's bads.
January is my favorite time to write. Yeah, because you know,
you can't do anything outdoors January February and so uh.
I start a new book each year, Almost every year.
I started a book on January the first, with the
(04:13):
goal of finishing by July the first, because of those
first three months are great times to write.
Speaker 1 (04:18):
Talk to me about books these days. Do you know
who your audiences? Has it changed over the years? What
a sales like? Is it hardback, is it softback? Is
it electronic? Is that the whole book market being up ended?
Speaker 2 (04:31):
Oh? Great question, Mike, laugh and tell people I sold
twice as many books before the internet, back in the
nineteen nineties because truthfully, because there were so many more
bookstores and there were so many more outlets, and that's
hurt publishing. But what's helped what's help publishing? Save publishing
or ebooks because they're so popular and they're so inexpensive
(04:52):
to make and market. There are no returns, there's no shipping,
no warehousing, publishers love them. We fight with publishers over
the royalties, but we publish of everything. That's part of
that's part of our profession. But but e books have
really been to salvation for popular fiction. Uh. Yeah, it's
all changed. It's all changed. The mass market's disappearing. I've
sold zillions of mass market books and airports and bookstores
(05:15):
and that's there. They're about to be a thing of
the past. Uh. But you know, audio is huge now
and e books are huge and hard My sales are
roughly one third hardbacks, one third e books, and one
third paperbacks. And that was unheard of fifteen years ago.
Speaker 1 (05:30):
That's amazing. Who do you write for the same people?
Speaker 2 (05:35):
I write for myself because I know what has worked,
I know what I like, I know I know the
stories I want to tell, and so far those are
the stories people want to read. And after fifty books,
I feel very lucky to have so many faithful loyal readers.
Speaker 1 (05:53):
Why you still as in a giant each January?
Speaker 2 (05:57):
Oh yeah, I can't wait. It's just so much fun.
I have all these I have all these stories I
want to write about. When when you when you watch
lawyers and judges and courts and trials and appeals and
things like. The material is endless. Uh, the crime is endless.
Especially in this country. Civil disputes are endless. We're very little,
nottigious people. We love to file lawsuits and hire lawyers,
(06:18):
and the and the stories go on forever. I can
write a thousand stories.
Speaker 1 (06:23):
Are you getting better?
Speaker 2 (06:27):
Boy? Don't know. That's a tough one to you can't
answer that. I have not. I have not deliberately changed
the writing style. I changed from the first book, A
Time to Kill to the Firm the second book because
the first book was a very heavy, uh tense book
and way too long, and it didn't sell initially, and uh,
(06:48):
I went for something more accessible, more more popular, more readable.
I wanted a vast audience. I wanted a bigger audience.
And then so I'm still there. I still really I'm
very much aware of of people out there who read
the books. I want them to be satisfied. I want
them to lose sleep, call in late for work, skip lunch, whatever,
(07:09):
to read the book. That's what I want the page you.
Speaker 1 (07:11):
To turn, all right, fair enough, I can believe that. Listen, hey, John,
I got a text already. I've just finished reading The Widow.
It's a great read. Lots of read lots of your books.
This was one of the best, in my opinion, great characters.
There you go. Now, listen, we talked previously, and I
think I'm right saying you're not overly involved in the
television side of the equation. Right once you've done your book.
Somebody options that that's you out. Am I correct in
saying that, yes, okay, So, but I read Jason Bateman
(07:33):
and Tom Holland are going to do the Partner. I mean,
does that make any difference to you? I mean, I
happen to be a big Jason Bateman fan, so i'd
be if I was you, I'd be going, oh my lord,
Jason Bateman, how cool is this?
Speaker 2 (07:43):
Well, I'm a big fan of both of them. But
h with film and TV, you don't believe anything anything
until they start filming. Well, I've had so many deals
blow up at the last moment. When they start filming.
They're spending big money, and that's when something's going to happen.
Until they start filming the partner, I won't believe it.
I'm happy about it. I hope it's good.
Speaker 1 (08:05):
I don't get involved, do you write for the television
in any way, shape or film in any way, shape
or form, or it just happens to be that way,
you know, it just.
Speaker 2 (08:13):
Happens to me that way. I write a very simple style,
one scene after the other, without a whole lot of
backfilling or flashbacking and stuff. It's a very simple direct
style that has always appeal to filmmakers because they're easy
to adapt.
Speaker 1 (08:27):
And so even though you don't involve yourself, does it
bother you how it looks when it gets to screen.
Speaker 2 (08:35):
Back in the old days, back in the good old days,
the early nineties, when we were doing movie after movie,
huge movie after a huge movie, it was easy. I
saw the movies back then, I had nothing to do
with them. I got really lucky with Hollywood. There were
big directors, big cast, big box office draws domestic and foreign.
We were printing money. Life was good. So I never
(08:57):
quibble with an ending or a change of character or
what because the movies were working. And I've learned over
the years, just it's gonna be something different. Sell it
to good people, smart people, stay out of the way
and hope for the best. And so far I've been
very lucky.
Speaker 1 (09:11):
Do you think. I don't want to get all nostalgic
about it, but when you say you're printing money in
the good old days, do you reckon they were the
good old days? I mean we might have lived through
the best of times in what you do, or is
it just different?
Speaker 2 (09:26):
Well, I think it was better back then for big movies,
for big writers and big actors because the movies were bigger,
there were more of them. Now now there's so much television,
which we all enjoy, but as far as movies are concerned,
there aren't nearly as many big movies and big actors
and actresses as they were thirty years ago. That's a
huge change. But you know, television has been great too.
(09:49):
It's been provided a lot of work and a lot
of money for writers, producers, directors, cast members, crew members.
It's a huge industry. So I can't say ones better
than listen. I got lucky. I had my pinnacle with
Hollywood thirty years ago with great movies. I'm not sure
that's going to come back, although there are still deals
from option deals from movies that we make and that
(10:11):
we hope for the best.
Speaker 1 (10:12):
So I'm optimistic, which brings us, of course to the
great tech question of the age AI. You're involved legally,
open AIS all that sort of stuff. Do you sit
there fear full of your creativity and individuality?
Speaker 2 (10:24):
Yeah, because you don't know where it's going. We don't
know where it's going. There's some people who say that
in a few short years, publishers will not need writers.
AI is going to be so good that AI can
write a novel, a suspense novel, a mystery is better
and better than I can. I don't think that's going
to happen. As a consumer of books, I can't see
myself ever buying a book produced by AI. I want
(10:46):
to know the writer, I want to know the tone.
And AI can capture a lot, it's phenomenal. It can't
always capture the emotion and drama of the human beings,
and that's what people love to read about. So you
know there's going to be ye, there's going to be
more and more pressure to create AI generated books and content. Again,
I don't know where that's going. I don't really understand AI.
(11:09):
I'm just wanting to hang on to what I've got
and keep writing books, the real books that people enjoy.
Speaker 1 (11:14):
How are we going to how are we going to
regulate it, get some rules around it. What's legal, what's not.
Speaker 2 (11:20):
Well, I don't know. We're trying to rain in on
some companies now through lawsuits because we we allege, we
have not proven, and I can't say much about it
because I'm tied up in court. But our lawsuit alleges
that these companies just took our books because they craved data.
They have to have so much data. They took our books, magazines,
newspaper everything. They wiped out libraries and plowed all this
(11:42):
stuff through the llms to create their their what they
do and without worrying about copyright infringement. And we think
copyright is sacred, and until the court says otherwise, we
will keep fighting. We're fighting all the time now trying
to protect what we are, our intellectual property and what
we have created.
Speaker 1 (12:00):
Well, I'll tell you what the good thing about your
writing is, we get to have you back on the program.
So keep writing and we'll talk to you again soon.
Speaker 2 (12:06):
I'll see you next year.
Speaker 1 (12:07):
Fantastic John Grisham one of the good ones. The new
book is The Widow. For more from the Mic Asking Breakfast,
listen live to news talks. It'd be from six am weekdays,
or follow the podcast on iHeartRadio
Time for a catch up with one of our old mates.
John Grishap was last we us on a project where
he helped people wrongly convicted that you may remember. Now
he's back in the world of fiction. And another first
days in the business, this time of a who Done It?
This is the Widow it's out now and John Grisham's
with us morning.
Speaker 2 (00:15):
Happy to be here mate, good seeing you again and.
Speaker 1 (00:17):
To you too. And I don't want to make it
too personal, but last time we talked, you were heading
towards a big birthday and you said, well, maybe it'll happen,
maybe it won't. My wife will put it on old
turn up whatever. Did anything happen?
Speaker 2 (00:28):
No, we had a fancy dinner with about twenty friends
and it was low key and most folks behaved and
we had good food and good wine. So I turned seventy.
Speaker 1 (00:37):
Well what more can you ask in life? Are you
grateful in moments like that? Given all your success?
Speaker 2 (00:42):
I'm grateful every day. Every day is another blessing. You're
lucky to be here. You know, when you turn seventy,
you realize you're getting older, but you also sadly realize
you're losing so many people along the way and it's
just thankful for being here man today.
Speaker 1 (00:56):
Yeah, but you look healthy and well.
Speaker 2 (00:59):
Well, so far, so good. So do you.
Speaker 1 (01:03):
Tell me about the widow? And so I was watching
one of the interviews you did on the American networks.
I didn't realize this. You start at the end. Is
that how it works? You've got your conclusion before you
go back.
Speaker 2 (01:13):
Almost always. I learned the hard ware years ago with
a book. Asked my first novel. I wasn't sure how
to end the book, And so you keep writing and
you can't get to the end, and you box yourself
on a corner, and writers do it all the time.
I said, I'm not going to waste time like that.
I'm going to know the ending when I start. And
if you know the ending is hard to get lost.
Speaker 1 (01:33):
Okay, So you had an ending and you wrote the story,
but then your wife comes in, your publishers coming. I
also saw, now I've heard two stories here. You had
an ending you liked, but then your wife said you
didn't like it. But then I saw you say I
had an ending I wasn't too sure about, and my
wife said she didn't like it.
Speaker 2 (01:49):
I'm not sure how much I liked it was it
was risky. A few times I've done endings that are
pretty risky. It's not what the reader expects, which I
kind of like, but it's said, you know, this one
was just just didn't work. And my wife said, hey, buddy,
this is not gonna work. And I listened to her.
Speaker 1 (02:06):
Okay, do you listen to her because she knows what
she's talking about, or she's always right, or you need
some sort of second opinion from the publisher, or.
Speaker 2 (02:14):
I would never say she's always right. You can't do
it in a happy marriage. You can you can never
admit that the other person's always right. She's usually right right.
And so she didn't like the ending. I sent it
to my publisher and to my editor in New York
and they agreed, and it went. All three of them
line up against me. I can't argue, So I just
changed the ending. I kept writing. I wrote twenty five
thousand more words in the month of January under the
(02:36):
gun to get it finished, and it worked out fine.
Speaker 1 (02:38):
So okay, so two parts out of that when somebody said,
given who you are, I don't like that, is that
is that popping an ego?
Speaker 2 (02:48):
No, I still listen to people I think it's important
to listen to people you trust. I don't care where
you are in life. You never get too big to
where you you don't listen to people you trust. And
I've always listened to my wife, my agent, and my editor,
and several times, not just this, but a lot of things,
a lot of stories. I write a lot of op
ed pieces, a lot of magazine articles, and my wife
(03:10):
always reads them first, and she always has comments. But
you know, I value that input. And I tell young
writers you got to have somebody. You gotta have a
reader you trust, somebody who loves you and wants to
see you succeed, but who'll be brutally honest with you.
You got to have that in life.
Speaker 1 (03:24):
And the second part of that question, when they said it,
did you see it? Or did it take some time?
Speaker 2 (03:30):
Uh? You know what I got. I was under the gun,
which is good when you write suspense. It's it's best
to be under the gun, to be to be nervous,
to be to be working over time. And I had
I had an idea for good ending, an the second
ending it worked out much better.
Speaker 1 (03:47):
Right, And so as you would write, did it flow
twenty five thousand words? Did it just flow big time.
Speaker 2 (03:53):
It was really that. That's a very fast paced. Twenty
five thousand words in one month is a lot. But
it was January. You know, the days short, the weather's bads.
January is my favorite time to write. Yeah, because you know,
you can't do anything outdoors January February and so uh.
I start a new book each year, Almost every year.
I started a book on January the first, with the
(04:13):
goal of finishing by July the first, because of those
first three months are great times to write.
Speaker 1 (04:18):
Talk to me about books these days. Do you know
who your audiences? Has it changed over the years? What
a sales like? Is it hardback, is it softback? Is
it electronic? Is that the whole book market being up ended?
Speaker 2 (04:31):
Oh? Great question, Mike, laugh and tell people I sold
twice as many books before the internet, back in the
nineteen nineties because truthfully, because there were so many more
bookstores and there were so many more outlets, and that's
hurt publishing. But what's helped what's help publishing? Save publishing
or ebooks because they're so popular and they're so inexpensive
(04:52):
to make and market. There are no returns, there's no shipping,
no warehousing, publishers love them. We fight with publishers over
the royalties, but we publish of everything. That's part of
that's part of our profession. But but e books have
really been to salvation for popular fiction. Uh. Yeah, it's
all changed. It's all changed. The mass market's disappearing. I've
sold zillions of mass market books and airports and bookstores
(05:15):
and that's there. They're about to be a thing of
the past. Uh. But you know, audio is huge now
and e books are huge and hard My sales are
roughly one third hardbacks, one third e books, and one
third paperbacks. And that was unheard of fifteen years ago.
Speaker 1 (05:30):
That's amazing. Who do you write for the same people?
Speaker 2 (05:35):
I write for myself because I know what has worked,
I know what I like, I know I know the
stories I want to tell, and so far those are
the stories people want to read. And after fifty books,
I feel very lucky to have so many faithful loyal readers.
Speaker 1 (05:53):
Why you still as in a giant each January?
Speaker 2 (05:57):
Oh yeah, I can't wait. It's just so much fun.
I have all these I have all these stories I
want to write about. When when you when you watch
lawyers and judges and courts and trials and appeals and
things like. The material is endless. Uh, the crime is endless.
Especially in this country. Civil disputes are endless. We're very little,
nottigious people. We love to file lawsuits and hire lawyers,
(06:18):
and the and the stories go on forever. I can
write a thousand stories.
Speaker 1 (06:23):
Are you getting better?
Speaker 2 (06:27):
Boy? Don't know. That's a tough one to you can't
answer that. I have not. I have not deliberately changed
the writing style. I changed from the first book, A
Time to Kill to the Firm the second book because
the first book was a very heavy, uh tense book
and way too long, and it didn't sell initially, and uh,
(06:48):
I went for something more accessible, more more popular, more readable.
I wanted a vast audience. I wanted a bigger audience.
And then so I'm still there. I still really I'm
very much aware of of people out there who read
the books. I want them to be satisfied. I want
them to lose sleep, call in late for work, skip lunch, whatever,
(07:09):
to read the book. That's what I want the page you.
Speaker 1 (07:11):
To turn, all right, fair enough, I can believe that. Listen, hey, John,
I got a text already. I've just finished reading The Widow.
It's a great read. Lots of read lots of your books.
This was one of the best, in my opinion, great characters.
There you go. Now, listen, we talked previously, and I
think I'm right saying you're not overly involved in the
television side of the equation. Right once you've done your book.
Somebody options that that's you out. Am I correct in
saying that, yes, okay, So, but I read Jason Bateman
(07:33):
and Tom Holland are going to do the Partner. I mean,
does that make any difference to you? I mean, I
happen to be a big Jason Bateman fan, so i'd
be if I was you, I'd be going, oh my lord,
Jason Bateman, how cool is this?
Speaker 2 (07:43):
Well, I'm a big fan of both of them. But
h with film and TV, you don't believe anything anything
until they start filming. Well, I've had so many deals
blow up at the last moment. When they start filming.
They're spending big money, and that's when something's going to happen.
Until they start filming the partner, I won't believe it.
I'm happy about it. I hope it's good.
Speaker 1 (08:05):
I don't get involved, do you write for the television
in any way, shape or film in any way, shape
or form, or it just happens to be that way,
you know, it just.
Speaker 2 (08:13):
Happens to me that way. I write a very simple style,
one scene after the other, without a whole lot of
backfilling or flashbacking and stuff. It's a very simple direct
style that has always appeal to filmmakers because they're easy
to adapt.
Speaker 1 (08:27):
And so even though you don't involve yourself, does it
bother you how it looks when it gets to screen.
Speaker 2 (08:35):
Back in the old days, back in the good old days,
the early nineties, when we were doing movie after movie,
huge movie after a huge movie, it was easy. I
saw the movies back then, I had nothing to do
with them. I got really lucky with Hollywood. There were
big directors, big cast, big box office draws domestic and foreign.
We were printing money. Life was good. So I never
(08:57):
quibble with an ending or a change of character or
what because the movies were working. And I've learned over
the years, just it's gonna be something different. Sell it
to good people, smart people, stay out of the way
and hope for the best. And so far I've been
very lucky.
Speaker 1 (09:11):
Do you think. I don't want to get all nostalgic
about it, but when you say you're printing money in
the good old days, do you reckon they were the
good old days? I mean we might have lived through
the best of times in what you do, or is
it just different?
Speaker 2 (09:26):
Well, I think it was better back then for big movies,
for big writers and big actors because the movies were bigger,
there were more of them. Now now there's so much television,
which we all enjoy, but as far as movies are concerned,
there aren't nearly as many big movies and big actors
and actresses as they were thirty years ago. That's a
huge change. But you know, television has been great too.
(09:49):
It's been provided a lot of work and a lot
of money for writers, producers, directors, cast members, crew members.
It's a huge industry. So I can't say ones better
than listen. I got lucky. I had my pinnacle with
Hollywood thirty years ago with great movies. I'm not sure
that's going to come back, although there are still deals
from option deals from movies that we make and that
(10:11):
we hope for the best.
Speaker 1 (10:12):
So I'm optimistic, which brings us, of course to the
great tech question of the age AI. You're involved legally,
open AIS all that sort of stuff. Do you sit
there fear full of your creativity and individuality?
Speaker 2 (10:24):
Yeah, because you don't know where it's going. We don't
know where it's going. There's some people who say that
in a few short years, publishers will not need writers.
AI is going to be so good that AI can
write a novel, a suspense novel, a mystery is better
and better than I can. I don't think that's going
to happen. As a consumer of books, I can't see
myself ever buying a book produced by AI. I want
(10:46):
to know the writer, I want to know the tone.
And AI can capture a lot, it's phenomenal. It can't
always capture the emotion and drama of the human beings,
and that's what people love to read about. So you
know there's going to be ye, there's going to be
more and more pressure to create AI generated books and content. Again,
I don't know where that's going. I don't really understand AI.
(11:09):
I'm just wanting to hang on to what I've got
and keep writing books, the real books that people enjoy.
Speaker 1 (11:14):
How are we going to how are we going to
regulate it, get some rules around it. What's legal, what's not.
Speaker 2 (11:20):
Well, I don't know. We're trying to rain in on
some companies now through lawsuits because we we allege, we
have not proven, and I can't say much about it
because I'm tied up in court. But our lawsuit alleges
that these companies just took our books because they craved data.
They have to have so much data. They took our books, magazines,
newspaper everything. They wiped out libraries and plowed all this
(11:42):
stuff through the llms to create their their what they
do and without worrying about copyright infringement. And we think
copyright is sacred, and until the court says otherwise, we
will keep fighting. We're fighting all the time now trying
to protect what we are, our intellectual property and what
we have created.
Speaker 1 (12:00):
Well, I'll tell you what the good thing about your
writing is, we get to have you back on the program.
So keep writing and we'll talk to you again soon.
Speaker 2 (12:06):
I'll see you next year.
Speaker 1 (12:07):
Fantastic John Grisham one of the good ones. The new
book is The Widow. For more from the Mic Asking Breakfast,
listen live to news talks. It'd be from six am weekdays,
or follow the podcast on iHeartRadio
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