Answer:
2 or the second one.
Explanation:
3 and 4 uses semicolons and 1 has no comma between black charcoal and pencils. :)
Moving to a new place can be tough on anyone, especially if the move is to a new state. At the start if a new move, you may think that many things will be different in your life, and that nothing will be enjoyable ever again. Your surroundings may have to change. Your good friends and favorite activities, however, do not. You can still maintain your friendships through a variety of technological ways, which may include talking on a cell phone, writing an email, and seeing a friend on video chat. Technology can help you stay in contact and be up to date with everything that your friends are doing. You can even continue doing your favorite activities, which might include sports. Most towns and cities have their own teams, leagues, or clubs for popular activities, So, you really don't have to give up what you love to do. Knowing that your friends and activities do not have to change can help you be more open to the idea of moving.
A is the answer hope it helps
Commons
“How did Faulkner pull it off?” is a question many a fledgling writer has asked themselves while struggling through a period of apprenticeship like that novelist John Barth describes in his 1999 talk "My Faulkner." Barth “reorchestrated” his literary heroes, he says, “in search of my writerly self... downloading my innumerable predecessors as only an insatiable green apprentice can.” Surely a great many writers can relate when Barth says, “it was Faulkner at his most involuted and incantatory who most enchanted me.” For many a writer, the Faulknerian sentence is an irresistible labyrinth. His syntax has a way of weaving itself into the unconscious, emerging as fair to middling imitation.
While studying at Johns Hopkins University, Barth found himself writing about his native Eastern Shore Maryland in a pastiche style of “middle Faulkner and late Joyce.” He may have won some praise from a visiting young William Styron, “but the finished opus didn’t fly—for one thing, because Faulkner intimately knew his Snopses and Compsons and Sartorises, as I did not know my made-up denizens of the Maryland marsh.” The advice to write only what you know may not be worth much as a universal commandment. But studying the way that Faulkner wrote when he turned to the subjects he knew best provides an object lesson on how powerful a literary resource intimacy can be