by Sam Bellotto Jr.
FIGURE 1
FIGURE 2
FIGURE 3
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AMERICAN CROSSWORD puzzles conform to a set of
established rules. The most popular of these rules are the ones formulated by
Simon & Schuster, the original crossword puzzle publisher, and
enthusiastically embraced by most
markets.
Know the rules. To begin with, a puzzle should fit into one of five
grid sizes: 15×15, 17×17, 19×19, 21×21 and 23×23.
Many publications accept 13×13 and smaller, but 15×15 and larger
sizes are generally accepted as standard, with 15×15 being the most
common size.
The diagram (placement of black squares within the grid) has to be
diagonally symmetrical. If a black square appears in the upper left hand
corner, there must be one in the bottom right hand corner, and so on throughout
the diagram. (Puzzles that are horizontally symmetrical are sometimes
permitted, but rarely.)
Two-letter words are not allowed, and even three-letter
words must be kept to an absolute minimum. Every letter square must be part of
both an Across and a Down word; letters not interlocked in this way (unkeyed)
are forbidden.
Except for theme entries which are given a greater degree of creative
latitude, all words contained in the puzzle grid must be referenced: for the
most part in standard dictionaries, atlases or encyclopedias, but almanacs,
specialty dictionaries, thesauri, movie guides, works of literature, text
books, concordia and a wide range of print sources are fine. Common expressions
that may not necessarily appear in dictionaries—"dream on," e.g.—are
perfectly okay, but don't get carried away. "Cold pizza" is clearly a
stretch.
Do not duplicate words in the grid.
This holds true for expressions which share a common word. SEE RED should not
appear in the same puzzle with SEE OFF, or
MUST-SEE.
Themes are the newest development in crossword puzzles. Although not
required, themes are increasingly preferred by more and more publishers and
solvers alike. In a really well-constructed crossword, the longest words are
related by topic or reference. This is the theme. Themes make crossword puzzles
a lot more fun and interesting. Themes can range from the ordinary, like people
with animals in their names (Stephen HAWKing, Thomas WOLFe), to "twisted" movie
titles that elicit funny definitions (Mr. Holland's SOUP, The SORE
Tattoo).
Begin with the grid. When I construct a puzzle, I first pick my grid
size. This can be dictated by the theme (three or four 12-letter theme words
are hardly enough for a 21×21 puzzle), or the market (most newspapers
accept only 15×15 puzzles for the daily
editions)
I find it handy at this point to draw up a list of as many possible
theme words/phrases that I can think of, sorting the list according to word
length. It makes it easier to juxtapose various theme words or replace any
later if I have to. Let us say that I want to make a puzzle themed with
computer terms, which I will define using wacky puns. First I develop a
potential list of thematic words and phrases coupled with their letter counts,
and tentative definitions. It looks something like this:
INTERNET [ 8] "Cooperative
fishing trawlers?"
MOUSEPAD [ 8] "Where
Mickey Lives?"
DIRECTORY [ 9] "Facts on
files?"
HARDDRIVE [ 9] "Tough job for a
trucker?"
MICROCHIP [ 9] "Snack food for
an amoebae?"
SELFSERVE [ 9] "Autonomous
Web site?"
MONITORLIZARD [13] "One who
scrounges for CRTs?
Position theme words. Next, I position
my theme words on the grid, careful to avoid any situations which result in
two-letter words or other troublesome juxtapositions. Additionally, I keep in
mind that I must maintain a diagonal symmetry with the theme words. Having done
this, I fill in only those black squares demanded by the theme words. (Figure
1).
After
satisfying myself that no awkward traps have been inadvertently set (such as
words that end in Q, or KX or IY pairings), I then complete the diagram by
arranging the rest of the black squares. This task can be made even more
interesting by trying to come up with a pleasing design in addition to
following the rules!
Incidentally, most professional markets establish limits as to the
number of black squares allowed in a puzzle. Simon & Schuster prefers that
about one-sixth of the total number of grid squares be black. Other markets are
more lenient, but if a puzzle clearly contains too many black squares nobody
will want it. Around one-sixth is a good
target.
Here's the finished grid with the
thematic entries placed according to diagonal symmetry (Figure 2). Four Down
theme entries and three Across theme entries is pretty impressive for a puzzle
of this size. Because MONITORLIZARD extends the full width of the grid and is
situated in the exact middle, it complies with the rules of symmetry by itself
and does not require a "mate." You can also readily see that some of the black
squares, such as those to the left of M and O in MOUSEPAD, and to the right of
E and T in INTERNET were required in order to eliminate two-letter
words.
The
secret to designing a good grid is to break it up significantly enough not to
have to fill in mammoth sections of white (Just try to complete a solid
6×6 block!) On the other hand, you don't want to overdo the black squares
or break up the grid to the point it resembles a Scrabble board. Remember, half
the satisfaction a solver gets from working a puzzle is being able to remark in
amazement, "Wow! how'd they do
that?"
Complete the grid. Now comes the most enjoyable part: filling in the
rest of the squares with legitimate words, abbreviations or phrases (Figure 3).
It usually takes me a good three or four hours to put together a 15×15
puzzle.
During the construction, I sometimes discover that my original grid
design contains problem sections and has to be altered. This is perfectly
normal, as long as the revisions maintain
symmetry.
Try to use words that are fun and interesting. Nobody is going to
delight in ABLATE or MYOCYTE, although "ugly" words are often unavoidable.
Words like BATMAN or FUZZBALL can be enormously
entertaining.
Digital dictionaries that come on CD-ROMs with wildcard search
features are invaluable construction tools! So are disk-based
libraries.
At this point, I am at last ready to think up the definitions, or
clues. For many constructors, writing the clues is the final step. Therefore,
it may also seem like the easiest, but this is far from the case. Boring clues,
too many obscure clues, over-used clues can all lead to a puzzle being
unceremoniously rejected by a puzzle editor. "Girl's name" is a definite no-no.
"Australian dog" elicits yawns. "Chelated hydrocarbon." You see the
point?
A
good mix of clue styles ensures success. About one-third of the clues should be
straightforward: "Hammerhead" for SHARK, "Vidalia or Spanish" for ONION,
"Exhausted" for TIRED. Another third should be clever: "Bamboo eater" for
PANDA, "They're sold in lots" for USED CARS, "Farm animals" for ANTS. The rest
of the clues can include fill-ins, names, crosswordese and, of course, clues
for the theme words. "Return ___ Jedi" is a fill-in. The answer is OFTHE. "Itsy
Bitsy Teenie Weenie Yellow ___ Bikini" is also a fill-in. You figure the
answer. "Actress Winona" is a name clue for RYDER. "Novelist Koontz" is a name
clue for DEAN.
Crosswordese encompasses all those bizarre animals, genuses, weights,
and the like, which are only found in crossword puzzles. Words like ADDAX or
BAHT or ITEA, while perfectly acceptable, should be kept to a
minimum.
One final caveat. Trademarks have been creeping into more and more
puzzles recently at an alarming rate. My advice is to avoid them. After all,
they are legally protected, use of which could result in lawsuits. And why give
away free advertising, anyway? |
