Email is an important part of digital marketing. There are two types: Planned and Triggered. Planned emails are set on a prescribed schedule, usually including a call to action. Triggered emails happen when the reader takes some action, such as visiting a website, completeing a sale, not completing a sale, signing up for something, downloading a free item, etc. These are often also built into customer relationship management systems, sent when an inquiry is made. Find an email that you opened that was sent to you from an organization, perhaps where you've bought something or made contact. Did you open the email when it was first sent? Why or why not? Looking at it now, is it effective? If you were in charge of emails, how would you improve it? (Anything like "no improvement needed" is not an acceptable answer). Please answer and thank you.

Read the excerpt from rudolfo anaya’s essay “take the tortillas out of your poetry.” tortillas and poetry. they go hand in hand. books nourish the spirit, bread nourishes our bodies. our distinct cultures nourish each one of us, and as we know more and more about the art and literature of the different cultures, we become freer and freer. . i don’t know anyone who doesn’t like to sample different ethnic foods, the breads of many many groups; just as many of us enjoy sampling books from different areas of the world. i travel to foreign countries, and i know more about myself as i learn more about my fellow human beings. censorship imposes itself in my path of knowledge, and that activity can be justified by no one. which choice best describes the purpose of this text? to persuade readers to oppose the censorship of literature to inform readers about censorship in a specific country to entertain readers with stories about censorship to motivate readers to speak out against censorship mark this and return

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.

What role must the audience play in the creation of an argument? how do bubbles(communities) complicate audience? should audiences be smarter? if yes, how do you make people smarter?