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She extends her hand in grief.
She extends her long arms, her voice plaintive.
"She extends the ideas that I give her".
She extends or multiplies spaces by painting the view out a window and including mirrors.
She extends our ways of trying to comprehend, if not to answer, life's big questions.
She extends her hand, waiting for the man to return the pack.
She extends her free standing forms à la Alberto Giacometti (1877-1947).
She extends a conversation with other mothers to meditations on Voltaire's Candide, Bram Stoker's Dracula, Rachel Carson's Silent Spring, Susan Sontag's AIDS and Its Metaphors, and beyond.
She extends a handshake and a glossy smile and then totters elegantly out of the room, the leather of her trousers swishing softly as she goes.
She extends them every loving courtesy, such as the human desire to identify with other humans, while exercising her right as a major writer: to make of her subjects and, to a certain degree, herself, what she will.
She extends a beautiful arm to one haplessly smitten victim in a gesture that is like de-creation's answer to the outstretched arm of God to Adam in Michelangelo.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com