One reason is that Colin has chosen to use The Hobbit as proof text, and
however superior a kid's book that is, it's a kid's book and written very
slightly down for its audience. I think the instances of "suddenly" drop
off in the Lord of the Rings proper, even the opening transitional hobbit
chapters. And I think Tolkien's ear for sentence rhythm is very strong in
the larger book.
Here I feel I must pull myself up to my full three-inch height and say (as a
writer of children's books myself) that it's a very good height to be! I
don't think one can assume that Tolkien would have felt it was all right to
'let himself go' stylistically simply because he was writing for children.
(On the contrary, it's a commonplace amongst children's writers that 'adult'
novelists are often severely under-edited, being allowed all kinds of
self-indulgent irrelevancies in narrative and description that would not
pass muster within a children's book.) Of course, Tolkien *may* have felt
that sloppy writing was good enough for children - many people seem to -
but, as I say, I don't think we can assume this. It's more plausible, I
suggest, to regard *The Hobbit* as his master-piece in the craftsmanly
sense, and *LotR* as his masterpiece in the demotic.
Now I will climb off this particular hobby-horse, which seems to have
wandered into field of off-topic thistles.