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It's a straight-laced treatment of the conflict compared to The Killing's nervy war crime plot.
"The Scarecrow" begins its crime plot routinely, with more emphasis on the press than on the investigation.
The crime plot, involving witnesses to drug-gang payoffs, is perilously thin and unrewarding (and a waste of Natalie Zea, the episode's guest star).
But the crime plot is essentially a way to revel in the trains, and the train system itself is a microcosm of New York's human and verbal comedy.
It could just as easily be the solution to a crime plot set in a country house, or a factory, or a school.
That would make for a pretty dull crime plot, though, so naturally she is framed for a murder (committed via baked goods) and turns amateur sleuth to clear her name.
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Go no further if you want to read classic British crime plots that update the Golden Age with a clever dose of modernity.
I've raced through the rest of her series; she creates smart crime plots with plenty of twists and I like the way she weaves in the personal lives of her detectives.
She is highly accomplished at crime plotting – satisfyingly entwining the campaign worker's death, two previous unsolved murders and a corporate pollution suit that Porter is pursuing – but often favours conventional elements.
While the crime plots may not necessarily be distinct from those faced by fictional British detectives, the sense of unfamiliarity offered up by tales from continental climes adds a sense of freshness.
The screenplay (written by John Huston but credited to Anthony Veiller) cleverly weaves together a variety of familiar crime plots to answer the questions Hemingway left unanswered, most obviously how a decent man was lured from the straight and narrow by a femme fatale.
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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