Read the paragraph from lucy’s narrative.
i could see that my neighbor was struggling with the lone bag of groceries cradled in her arms, but i wasn’t sure what i should do. grandma june—what all the neighborhood kids had called her for as long as i could remember—had always been the one to care for us, to us build stronger forts, to grow better flowers, and to learn from our mistakes. to ask if she needed with something as simple as carrying in one bag of groceries would be like shouting to the world that she was aging, that she was no longer as strong as she once had been. hesitantly, i walked to the wooden gate that divided our front lawn from hers and stood there as the package she was carrying threatened to spill from her arms.
lucy decides that this may not be the most effective way to tell her story. if she wants to create more suspense in the plot, what would be the best possible change she could make?
she could remove the background information about her past with grandma june, allowing suspense to build as the reader wonders who grandma june is.
she could include more reasons she is hesitant to assist grandma june, allowing suspense to build as the reader begins to believe she will not .
she could start with the last sentence instead, allowing suspense to build as the reader wonders why she is hesitant to ask if grandma june needs .
she could begin with more stories about grandma june, allowing suspense to build as the reader wonders why she is talking about grandma june.

How would you write "the fourth of july? " the 4th of july or the fourth of july? are they both grammatically correct?

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.

3. how could the following sentence be rewritten as an exclamatory sentence? how dangerous was the saber-toothed tiger? a. tell someone how dangerous the saber-toothed tiger was. b. the saber-toothed tiger was dangerous. c. the saber-toothed tiger was dangerous! d. no change is necessary. c. the saber-toothed tiger was dangerous!