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In due course some of these narrative poems served as the basis for sagas in prose.
In both of these narrative examples, intended for different and yet broad audiences, the narrators take a traditional journalistic tone (Example 1) and a younger more cheeky columnist's tone (Example 2).
Some of these narrative twists were first devised by the librettist Jules-Henri Vernoy de Saint-Georges and the choreographer Joseph Mazilier when they staged "Le Corsaire" (to music by Adolphe Adam) for the Paris Opera in 1856.
As their speculations intensify, the significance of these narrative constructs takes on greater importance, and we begin to perceive the fragility of the students' relationship with each other — and with the "reality" that they've fabricated.
Among the strengths of Evolution: The Story of Life on Earth is that it so effectively and engagingly combines both of these narrative approaches even if its protagonists look like sea cucumbers.
Counter-intuitive elements could include a talking animal, or a pumpkin that turns into a chariot – but it's not so much the nature, as the number of these narrative devices that seems to be crucial.
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Because we need more of these narratives, not fewer.
The escalation of these narratives is carefully calibrated.
There's evidence to fit each of these narratives.
The plotlines of these narratives are cliches of bravery, pity, triumph over tragedy and often death.
The development of these narratives can provide a richer information resource for better understanding human landscapes.
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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