: Think of everything in the story in terms of "actors". Do they appear near enough to be confusable? Do they appear in contexts where one can be confused with the other? In your case

Think of everything in the story in terms of "actors". Do they appear near enough to be confusable? Do they appear in contexts where one can be confused with the other?
In your case it's rather distant. Sure, there are contexts where they can be problematic.

We're going to hitch a ride to Hilfinger
We're going to hitch a ride to Helmin.

That's one example. I bet it would be a rather rare one to occur in the story, so don't sweat it, but such things can confuse the reader if you don't make them clear from the context. It's not much of a problem, don't worry.
But if you write a story about a team of soldiers, the sniper calling his gun Culler, and the heavy weapons guy named Culley, you're asking for trouble. Why the hell is the sniper carrying the heavy weapons guy on his back? Wait. Did the sniper gun just speak?

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: This is extremely rare and very difficult to execute smoothly. While switching into present tense when the action picks up is usually fine, it's very difficult to create a smooth transition

@Dunderdale623

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: Do readers enjoy self-administered vigilante justice? Or do they prefer moral heroes? Let me put it this way: A common trope in American popular fiction is the hero who lives by his

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: Are newlines effective for adding weight to certain phrases? Sometimes I'll write something where there's a few paragraphs of buildup, then a "whammy line" or two. I wrote a quick example, pretend

@Dunderdale623

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: What is this 'pretend dialogue' technique called There's a style that is popular on blogs, and takes the form of a dialogue between the reader and the author, where the author provides both

: Think of everything in the story in terms of "actors". Do they appear near enough to be confusable? Do they appear in contexts where one can be confused with the other? In your case

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: This is extremely rare and very difficult to execute smoothly. While switching into present tense when the action picks up is usually fine, it's very difficult to create a smooth transition

: Do readers enjoy self-administered vigilante justice? Or do they prefer moral heroes? Let me put it this way: A common trope in American popular fiction is the hero who lives by his

: Are newlines effective for adding weight to certain phrases? Sometimes I'll write something where there's a few paragraphs of buildup, then a "whammy line" or two. I wrote a quick example, pretend

: What is this 'pretend dialogue' technique called There's a style that is popular on blogs, and takes the form of a dialogue between the reader and the author, where the author provides both

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