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Her stories are baldly dramatic, and the Georgia she creates on the page – as individual a landscape as any in fiction – is summoned with few, very bold strokes.
Although she creates on a massive scale, her sculptures are often described as anti-monumental, the monument and its downfall contained within a form made of ordinary materials: cardboard, rags, rubber, tape, tarpaulin, paper, polystyrene.
She did recall that her fellow creators had once embraced her ideas that audience members and many critics found confusing; she singled out her decision in Act II to have the spider-villainess Arachne trick Peter Parker with illusions of other villains that she creates on her personal "world wide web".
She's clearly in favour of him embracing the messy truth, but the reality she creates on the page ends up being too tidy, with a neat ending and characters like the spoilt, shallow Maxine (who calls her own half-baked couture ideas "pure genius") too often used to score easy points against.
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She's starting work on her own sketch show, starring a selection of alter-egos she created on Snapchat.
And lastly you might want to make Melissa Clark's red lentil soup with lemon, something she created on a cold and rainy winter day.
Take, for example, the English artist Catherine Bertola's ornate "flocked wallpaper," which she created on site using the contents of the museum's own vacuum cleaners.
Feminist editor Sinéad Gleeson laments the current interest in Brennan's "vintage wardrobe and fabulous up-dos, as opposed to the world she created on the page".
Passloff, in turn, presents a work by the whimsical ballet post-modernist James Waring (with whom she once danced) and a piece she created on the basis of a drawing by the ballet experimentalist Remy Charlip.
Richly colored, patterned and embroidered, the costumes may have inspired the handwork she created on apparently hypermodern pieces, like a zodiac pattern of constellations, embroidered by François Lesage in 1939.
"People were in front of it, chanting the New Year's Eve countdown," Ms. Jones said of Metronome, the 62-foot-wide, 15-digit clock that she created on the face of One Union Square South in 1999.
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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