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For the reader, getting sucked into the ensuing story of drugs, vice and murder is a similarly daredevil thrill.
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The reader gets zipped into your skin.
The reader gets the impression that Mr McLaren may be embarrassed by such soppiness.
But Ridley repeats these ideas so often that the reader gets weary.
These ordeals are so exhaustively described that the reader gets tired following his exploits in print.
Only rarely does the reader get a glimpse behind the curtain of discretion Eliot used to guard his days.
The reader gets little visceral sense of what might actually be at stake in the world outside the palace gates.
"She did not feel like a bad woman" is as close as she, or the reader, gets to insight.
The reader gets considerable information about the subject's personality when you see the clothing, shoes and hair in color.
The reader gets to know him, too, because the killer, James Varney, is clearly drawn from the start of the story.
But without her or Tatiana's familiarity with Berlin, the reader gets lost in the dense fog of allusion.
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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