Jennifer Burns

Yeah.

Yeah.

Yeah.

Yeah, I mean, I know with the biography of a person, I am already given a start and an end date and a rough narrative of what happens. So I have a kind of structure. And then with Rand, both with Rand and Friedman, I started by reading their major books. before I really read anything about them because I wanted my own experience of the material to be fresh.

Yeah, I mean, I know with the biography of a person, I am already given a start and an end date and a rough narrative of what happens. So I have a kind of structure. And then with Rand, both with Rand and Friedman, I started by reading their major books. before I really read anything about them because I wanted my own experience of the material to be fresh.

Yeah, I mean, I know with the biography of a person, I am already given a start and an end date and a rough narrative of what happens. So I have a kind of structure. And then with Rand, both with Rand and Friedman, I started by reading their major books. before I really read anything about them because I wanted my own experience of the material to be fresh.

And I had read some Ayn Rand, but not a lot. Similarly, I had read some Friedman, but not a lot. So I had first is like, let me read the major stuff, get oriented, and then just dive into the archive and see what's there. Who are they talking to? What's going on? In Rand's case, you know, I was interested in her in the United States, not her in Russia. I didn't have the language skills to do that.

And I had read some Ayn Rand, but not a lot. Similarly, I had read some Friedman, but not a lot. So I had first is like, let me read the major stuff, get oriented, and then just dive into the archive and see what's there. Who are they talking to? What's going on? In Rand's case, you know, I was interested in her in the United States, not her in Russia. I didn't have the language skills to do that.

And I had read some Ayn Rand, but not a lot. Similarly, I had read some Friedman, but not a lot. So I had first is like, let me read the major stuff, get oriented, and then just dive into the archive and see what's there. Who are they talking to? What's going on? In Rand's case, you know, I was interested in her in the United States, not her in Russia. I didn't have the language skills to do that.

So I start her in the United States, and I start when she publishes her first book, and she starts getting letters. And who is she writing to? Who's writing to her? And then I start to uncover this world of kind of nascent conservatism, and I'm kind of putting that together. And once I have enough... I say, well, that's a chapter. I'm going to cover that chapter.

So I start her in the United States, and I start when she publishes her first book, and she starts getting letters. And who is she writing to? Who's writing to her? And then I start to uncover this world of kind of nascent conservatism, and I'm kind of putting that together. And once I have enough... I say, well, that's a chapter. I'm going to cover that chapter.

So I start her in the United States, and I start when she publishes her first book, and she starts getting letters. And who is she writing to? Who's writing to her? And then I start to uncover this world of kind of nascent conservatism, and I'm kind of putting that together. And once I have enough... I say, well, that's a chapter. I'm going to cover that chapter.

And then there's going to be, you know, the book has come out. And so now I need to start a different chapter. What's her life like after the book has been published? You know, and then I look for that. But I'm really, although I have this very high level structure, it's coming out of the archive, the material I'm finding.

And then there's going to be, you know, the book has come out. And so now I need to start a different chapter. What's her life like after the book has been published? You know, and then I look for that. But I'm really, although I have this very high level structure, it's coming out of the archive, the material I'm finding.

And then there's going to be, you know, the book has come out. And so now I need to start a different chapter. What's her life like after the book has been published? You know, and then I look for that. But I'm really, although I have this very high level structure, it's coming out of the archive, the material I'm finding.

And if I'm not finding the material there, I won't cover it in great detail. Or if I've decided it's outside my ambit, I'm not going to go into great depth on it.

And if I'm not finding the material there, I won't cover it in great detail. Or if I've decided it's outside my ambit, I'm not going to go into great depth on it.

And if I'm not finding the material there, I won't cover it in great detail. Or if I've decided it's outside my ambit, I'm not going to go into great depth on it.

Yeah. Yeah. I mean, correspondence is really, really helpful. Drafts, correspondence. And, you know, someone this famous, they have oral histories, other people write about them. So you're reading all these different things and kind of triangulating and trying to sort of put them together and then think about... how do I present this in a compelling story and what do I need to explain?

Yeah. Yeah. I mean, correspondence is really, really helpful. Drafts, correspondence. And, you know, someone this famous, they have oral histories, other people write about them. So you're reading all these different things and kind of triangulating and trying to sort of put them together and then think about... how do I present this in a compelling story and what do I need to explain?