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They're all characters whose biggest enemies are themselves.
Characters whose interactions are unusually subtle for Wagner become props.
Again, Harrison follows unrelated characters whose paths cross and converge.
I seem to prefer characters whose lives, and minds, are close to the edge.
The later plays, for example, have characters whose behaviour is dominated by one psychological idiosyncrasy.
The novel is split between two characters whose connection is not immediately clear.
Deceit and immorality originated in identifiable characters, whose tragic weaknesses changed history.
These subtle stories are filled with characters whose plans for happiness are continually subverted by destiny.
Or, at least, novels featuring characters whose occupations meaningfully influence the narrative.
Other, more wrenching stories etch characters whose ideas of traditional morality lead them astray.
Wobbly, over-the-shoulder shots follow characters whose worlds are usually falling down around them.
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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