Kwami is giving an oral presentation about why testing cosmetics on animals is wrong. He provides charts showing the harm done to test subjects, and he gives a bulleted list about alternative methods of testing. Then, he plays a clip from an interview with a scientist who has done extensive research on the issue. Throughout the presentation, Kwami speaks at a steady pace while staying very still with his hands at his sides. He barely looks at his notes. After the presentation, Kwami takes questions from the audience. What could Kwami have done to make his oral presentation more effective? He could have used hand gestures and body language to express himself. He could have read from his note cards throughout the presentation. He could have changed his rate of speech during more exciting moments. He could have repeated the scientist’s words instead of playing an interview clip.

Which is the best strategy for responding to counter-arguments in your persuasive research essay? a. avoid addressing opinions that point out flaws in your thesis. b. use language that will appeal to the emotions of your audience. c. respond to reasonable outlooks instead of weak ones. d. ignore any evidence that does not support your own thesis

Read the excerpt from act ii, scene iii of romeo and juliet. romeo: i warrant thee my man’s as true as steel. the simile in the excerpt means that romeo’s man a, has a sharp wit. b. is a loyal servant. c. has a hard personality. d. makes pointed comments.

In this excerpt from "quality" by john galsworthy, which two parts clearly indicate the literary point of view of the essay? that tenement had a certain quiet distinction; there was no sign upon its face that he made for any of the royal family—merely his own german name of gessler brothers; and in the window a few pairs of boots. i remember that it always troubled me to account for those unvarying boots in the window, for he made only what was ordered, reaching nothing down, and it seemed so inconceivable that what he made could ever have failed to fit. had he bought them to put there? that, too, seemed inconceivable. he would never have tolerated in his house leather on which he had not worked himself. besides, they were too beautiful—the pair of pumps, so inexpressibly slim, the patent leathers with cloth tops, making water come into one's mouth, the tall brown riding boots with marvellous sooty glow, as if, though new, they had been worn a hundred years. those pairs could only have been made by one who saw before him the soul of boot—so truly were they prototypes incarnating the very spirit of all foot-gear. these thoughts, of course, came to me later, though even when i was promoted to him, at the age of perhaps fourteen, some inkling haunted me of the dignity of himself and brother. for to make boots—such boots as he made—seemed to me then, and still seems to me, mysterious and wonderful.