: I grew up in the 70's in Britain reading C.S. Lewis, Ray Bradbury, Susan Cooper, Alan Garner, J.R.R. Tolkien, John Christopher, along with Enid Blyton, Elizabeth Beresford, Joan Akien, Arthur

I grew up in the 70's in Britain reading C.S. Lewis, Ray Bradbury, Susan Cooper, Alan Garner, J.R.R. Tolkien, John Christopher, along with Enid Blyton, Elizabeth Beresford, Joan Akien, Arthur Conan Doyle, Road Dahl, Rudyard Kipling, James Herriot, Mary Norton and so on.

I started reading quite late, but caught up very quickly, and as a voracious reader who scaled up from having huge trouble learning to read to reading Tolkien's LoTR at 7 - and for me, I'd say 3 is not only acceptable, but best practise.

This encourages young readers, evokes the exotic element you desire, seeds the readers' interests in new-to-them sets of basal phonemes, aiding them in learning other languages should they desire, and seeds a level of comfort and interest in other cultures as well.

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: I grew up in the 70's in Britain reading C.S. Lewis, Ray Bradbury, Susan Cooper, Alan Garner, J.R.R. Tolkien, John Christopher, along with Enid Blyton, Elizabeth Beresford, Joan Akien, Arthur

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: How can I make sure a major twist is not disappointing? I've been having some trouble with the ending of my current story, and I've decided that the best way to deal with those issues is

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: Does my constantly sad character make a terrible main character? One of my characters, Mallory is a 37-year old mother who is willingly strict with her son, as repulsive as that sounds it turns

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