: Re: Is sending your characters back to a different century a good way to disguise them? In one of my novels, I took two "contemporary" real life people, and sent them back to the 18th century

Only as much as bringing a past character forward can disguise him or her.

If you have a brilliant, borderline sociopathic crime-solver who uses recreational pharmaceuticals to stave off boredom and has a physician friend/living-space-mate who helps with cases, setting the story in 25th century Starfleet, 21st century New York, or Camelot isn't going to let you off the hook from readers recognizing Holmes and Watson.

Just changing setting/time isn't sufficient. You have to change enough of the details that the character is no longer the real person.

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: In narration, stay in one tense. "She had green eyes" is fine, because your entire story is in the past tense — the "present-past," if that makes sense. If she had green eyes as a

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: "Literary criticism" and "editing feedback" are two entirely different beasts. Litcrit is about looking at an existing text and analyzing it. You look at the author's intent, you look at symbolism,

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: Consequences. A strikes B. Even if B provoked A, A still gets arrested, processed, tried, convicted, and serves time. A gets grief from family and friends. A feels mixed anger, resentment,

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: Is breaking the fourth wall to the point of nonexistence appropriate for a comedy book? After considering the style and setting for my first book, I've decided on writing a comedy treasure hunt

: Re: Is sending your characters back to a different century a good way to disguise them? In one of my novels, I took two "contemporary" real life people, and sent them back to the 18th century

More posts by @Debbie451

: In narration, stay in one tense. "She had green eyes" is fine, because your entire story is in the past tense — the "present-past," if that makes sense. If she had green eyes as a

: "Literary criticism" and "editing feedback" are two entirely different beasts. Litcrit is about looking at an existing text and analyzing it. You look at the author's intent, you look at symbolism,

: Consequences. A strikes B. Even if B provoked A, A still gets arrested, processed, tried, convicted, and serves time. A gets grief from family and friends. A feels mixed anger, resentment,

: Is breaking the fourth wall to the point of nonexistence appropriate for a comedy book? After considering the style and setting for my first book, I've decided on writing a comedy treasure hunt

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