Contents

Cover

Title Page

Foreword

Introduction

Part 1: Crossword Basics

1 Terminology

2 Overview of Clues and Indicators

3 Clue Types and Indicators in Detail

4 Tips for Solving Clues

5 Tips for Solving the Whole Puzzle

6 The Knowledge

7 Ten Things to Consider When Stuck

Part 2: Mastering the Finer Points

8 Finer Points: by Clue Type

9 Finer Points: General

10 Ten Especially Troublesome Words

11 A Solving Sequence

12 Ten Ways to Raise Your Game

Part 3: Practice Time

13 Ten Media Recommendations

14 Practice Clues by Type

15 Practice Puzzles

16 Leaving the Best Till Last

17 Which Crosswords Next?

Part 4: Appendices

Abbreviations

Solutions: Practice Clues to Try by Type

Solutions: Practice Puzzles

Thanks

Index

Copyright

About the Publisher

To my musician friends in the London Symphony Orchestra,

some of whom are managing to crack cryptics after reading

my previous book, and all of whom have consistently

given me immense musical pleasure over many years.

Foreword

After many years of struggling to make sense of the cryptic clues contained in the crosswords published in the daily papers such as The Times, Telegraph and Observer, I commenced on my retirement in 2002 to tackle the crossword that regularly appeared in The Week magazine which was delivered every Friday. Over the next few years I found that I could answer some of the clues as I got to understand and decode the language used by the setter, Tim Moorey.

At this stage in 2008, I started to seek out relevant books and courses that might help me and then discovered that Tim Moorey held weekend workshops on demystifying cryptic crosswords. On checking out his website I found that he was about to provide a Sunday afternoon talk about cryptic crosswords at the Farncombe adult education centre near Evesham. Both I and my wife attended Tim’s enjoyable entertaining but thought-provoking presentation about cryptic clues based on the extensive vocabulary of the English language and about the various setters for the national newspapers. Afterwards I purchased a copy of the recently published book How to Master The Times Crossword. I only had to flick through a few pages to know that I had, at last, found the book that clearly explained the thought processes that lie behind the cryptic language used by the crossword setters.

Once home I started to work through Tim’s book and found I could follow his clear definitions, examples and solutions for the differing types of cryptic clue. With the tutorial style for working through a number of puzzles methodically I felt that I was beginning to get into the crossword clue setter’s mind.

Having whetted my appetite with Tim’s book I and my wife quickly enrolled onto one of Tim’s weekend workshops in early 2009 and we both experienced the sheer delight in cracking the codes of selected cryptic crosswords from a range of the national newspapers in a cooperative, not competitive environment. The course clearly explained in an informal presentation all of the cryptic clue types, all of the abbreviations used by all setters, and, best of all, how to actually tackle the crossword and break the ice to answer the first clue.

The workshop essentially is the practical application of the contents of Tim’s book. If you cannot afford the time to attend one of Tim’s workshops then you must buy this book. It really reveals everything you need to know about the wonderful pastime of deciphering the code of the clues for cryptic crossword solving. I now have the satisfaction of regularly completing the crossword each week in The Week but I now regularly tackle and occasionally succeed with other setter’s crosswords in The Times, Telegraph, Observer and The Oldie. My enjoyment of this range of puzzles is all due to the application of the rules, examples and methods that are distributed throughout the 200-plus pages of this small masterpiece. If you want, like me, to enjoy the thrill and satisfaction of completing a cryptic crossword then this updated book now covering a range of daily, weekly and monthly publications is the book to diligently work through. You will enjoy many hours of mental exercise and sheer enjoyment at deciphering the clever clue structure that is now an established British pastime.

Happy reading with a sharp rubber-ended pencil to hand.

Tony Savage

A crossword solver

Introduction

In Victorian times a popular game was Magic Square… In 1913 Arthur Wynne was given the task of devising a new puzzle for the World. He adapted the magic square by blackening in some squares and criss-crossing the words. Thus was the first ever crossword puzzle created.

The Advertiser, Adelaide

What’s the aim of this book?

I hope to show that, for any daily or weekly crossword puzzle, it is possible substantially to improve your solving skills by the study and application of a few straightforward rules and techniques.

So, is this book only for beginners?

Not at all, it is also for anyone wanting to master crossword puzzles so he or she isn’t regularly left with unfinished clues before the next day’s newspaper arrives. It may also appeal to others happy to enjoy many first-rate clues and practice puzzles from the sources that abound in the book.

Is there a typical person who might benefit?

Whilst I wouldn’t wish to deter others, the person who enjoys a daily struggle with a Quick (non-cryptic) crossword appearing in nearly every newspaper, is an ideal recruit to the world of cryptics. He or she will soon find that they are being given only one way of cracking a clue ie by definition only; cryptics more often than not have two ways, sometimes more, and take full advantage of the delights and richness of the English language.

What are my qualifications?

I offer four:

1. A (not very fast) solver of crosswords for over 50 years, starting with the London Evening News, followed by the Radio Times and the News Chronicle.

2. A crossword setter whose first quick crossword was published in the Evening News in 1956, and now for the Sunday Times, Sunday Telegraph, The Week and MoneyWeek magazines, and other national media for over 25 years.

3. A tutor of ‘demystification’ fun workshops, mainly for adults but also increasingly for children in schools, held in the UK for over 15 years.

4. Author of How to Master The Times Crossword (HarperCollins 2008) which explained cryptic clues in innovatory charts that have been well-received and are used in this book.

Is this then an update of How to Master The Times Crossword?

Much feedback on this first book showed that it proved useful for solving crosswords other than The Times’. This encouraged me to write a generic book applicable to just about any crossword. Whilst the teaching parts in Chapters 1 and 2 are pretty much unchanged, all the practice clues and puzzles in Part 3 are new and from a wide variety of sources. These may even offer a reason for previous readers to enjoy this second book.

Are there rules and principles for all cryptic crosswords?

It surprises people to hear that there are, as set down by Ximenes (see box) and they are followed to a large extent by the clue-writers and crossword setters whose work appears here.

So which crosswords are not covered?

Barred crosswords such Mephisto (Sunday Times), Azed (Observer) and the Listener Crossword (in The Times on Saturday) are not used as examples. That’s not to say they do not follow Ximenean rules as they indeed do, but solvers of these puzzles at the top of the difficulty scale are unlikely to be in need of instruction.

Also one or two setters in national papers are encouraged to think outside the Ximenean box, arguably good for the development of crosswords but impossible for any tutor to teach.

More of this later.

What about Jumbo crosswords?

No examples of these puzzles are included on the grounds of space but the clueing and solving principles and practice described are just as relevant to their solvers.

What’s the book’s focus?

It’s firmly on the solver. The teaching sections have been written after consulting a large number of solver friends, colleagues, acquaintances and workshop students, much of whose experience and techniques are incorporated. To this end, a setter’s blog in the previous book is replaced by practice puzzles.

Are there rules for solving?

No, and I certainly would not wish to be seen as laying rules down. Everyone finds their own way of doing crosswords and my hope is that I help you to find yours. Also I invite you to adopt or reject the tips according to whether they suit you.

One thing I will point out, albeit hesitantly, is that on my workshops, female students tend to be ‘instinctive’ solvers (initial guess and work out why afterwards) whereas male students tend to be more ‘analytical’ in their initial solving. But that’s naturally not always the case: the key point is that it doesn’t matter which type you are.

XIMENES AND AZED

Having taken his name from a Grand Inquisitor in the Spanish Inquisition, Ximenes (Derrick Macnutt), a Marlborough College student and Classics master at Christ’s Hospital, was long-term setter of a crossword puzzle in the Observer. He is remembered today, not just for his puzzles, but also because he set out fair and consistent principles for cryptic crosswords, design and clues in a ground-breaking 1966 book Ximenes on the Art of the Crossword, reissued in 2001. His successor Azed and the majority of setters today in national media follow virtually all of what are known as ‘Ximenean’ principles.

How to reinforce the teaching?

I follow the well-established teaching principle that adults learn best by doing, rather than reading or being talked at. So I have included lots of practice clues and puzzles, with detailed notes. Slightly slimmed down, these notes are, I hope even clearer to follow than before, setting out the solutions to every practice clue and puzzle. They should leave you in no doubt about why the solutions are what they are, a common frustration for solvers. Finally, a full index is designed to encourage the book’s continual use as a manual, rather than a book that you read once and then donate to Oxfam.

The practice clues in Chapter 3 come from varied sources too and many are to savour, as they originally appeared after having been selected as the ‘The Clue of The Week’, a feature of The Week magazine almost since its inception 15 years ago.

Why do people shy away from cryptics?

There are many fears and misapprehensions about the cryptic crossword, usually displayed at the start of my workshops. It is commonly thought that:

• you require a good knowledge of rare words, literature and the classics

• answers are ambiguous

• the cryptic is always harder than the Quick, non-cryptic puzzle

• there are no rules

• you need to have ‘that sort of mind’

I hope by the end of this book to have dispelled, partly or wholly, all of these myths.

What sort of knowledge is needed?

I believe that any moderately well-educated person with a love of language and problem-solving, and average general knowledge can complete a cryptic crossword. On these points, Richard Browne, the recently retired Times crossword editor, has explained:

‘Twenty years ago setters could confidently expect that most solvers would have a reasonable acquaintance with the principal plays of Shakespeare, the main characters and events in the Bible, probably a bit of Milton, a few lyric verses, Dickens perhaps, certainly Sherlock Holmes and some staples of the Victorian nursery such as Lear and Lewis Carroll, and you could confidently clue a word just with a reference. That doesn’t work any more, partly because the world has widened up so much.

We have lots of people in this country now from different backgrounds – India, Africa, America, whatever – who have a different system of education, and of course we have people logging on worldwide to Times Online, doing the crossword. So it’s a larger and more varied audience – you’re no longer talking exclusively to the public-school, Oxbridge types who were the core of your readership 50 or 60 years ago.’

Importantly, these comments apply to most cryptics published today.

Finally, why do crosswords?

‘I always do the crossword first thing in the morning, to see if I’ve enough marbles left to make it worth my while getting up.’

Letter to The Times from an elderly reader

There is indeed scientific evidence that tackling a crossword can be good for you. Medical research continues to support the notion that mental exercise from activities such as crosswords is beneficial, especially in later life, and stimulates the brain. A New York neurologist, Doctor Joe Verghese, conducted research in this area for over 21 years and found that those who kept their minds nimble were 75 per cent less likely to develop dementia or Alzheimer’s disease.

‘Do something that is mentally challenging to you,’ he has said. ‘It seems that remaining mentally agile makes the brain more healthy and more likely to resist illness, just as physical exercise can protect the body from disease.’

In addition, are crosswords educational? I say yes, in the sense that they can improve your vocabulary and general knowledge.

Incidentally, you can check the number of words in your vocabulary via, amongst other sites, www.testyourvocab.com, against the average native English speaker’s 27,000 words. Maybe one plan is for you to check your score again after you have mastered this book!

It’s now time to get stuck into some basics, in which I assume no previous knowledge whatever.

PART 1:
CROSSWORD BASICS
1: Terminology

‘She had another look at The Times Crossword. The clues might as well have been written in a foreign language.’

Simon Brett, The Stabbing in the Stables

The first three chapters establish the terms used throughout. They are essential reading for beginners, and perhaps also for some seasoned solvers who may have become used to different terminology.

What is a cryptic clue?

A cryptic clue is a sentence or phrase, involving a degree of deception, making sense and frequently conjuring an image, or triggering thoughts, in its surface reading, but when read in another way can be decoded using a limited number of well-established techniques to give a solution. Thus ‘cryptic’ is used in its meaning of hidden or misleading.

These are the other terms we shall use:

• Answers to clues, running across and down are entered into a grid, popularly a diagram, which has across and down empty squares to be filled.

• The grids in the case of the puzzles we are considering here contain black square blocks, hence they are seen in blocked puzzles.

• The other main type not being considered here has a grid with bars rather than blocks, hence the term barred puzzles.

• Clue answers are variously called solutions, entries and indeed answers.

• Where a solution letter, or letters, is able to be confirmed by intersecting entries, they are checked letters. Unchecked letters (unches in the trade) are therefore the opposite: the solver has no second way of confirming them.

• The person responsible for the crossword is a setter; more commonly, but in a term less attractive to most crossword professionals, a compiler.

• The term constructor, which suits puzzles with difficult- to-build grids, is used in North America.

• Other terms associated with clues such as wordplay, anagram, indicator and anagram fodder are explained as we meet them.

For completeness, there is a rarely used crossword term – light – whose meaning has fluctuated somewhat from the early days of crosswords but is defined by the Collins English Dictionary today as the solution to a clue.

ARE CRYPTICS EXCLUSIVELY BRITISH?

Commonwealth countries such as Canada, Australia, New Zealand, India, Kenya, Malta and South Africa have daily cryptics similar to British ones, as does Ireland. US crosswords are different in that grids are more open and clues are mildly cryptic or straightforward definitions. There are some occasional British-style puzzles in the New York Times and elsewhere. Nonetheless the UK can be considered the home of cryptics. For example, Daily Telegraph crosswords are syndicated to around 20 countries.

2: Overview of Clues and Indicators

‘The question is,’ said Alice, ‘whether you can make words mean so many different things.’

Lewis Carroll, Through the Looking Glass

In this chapter I provide a short overview of the basics of clues and how to recognize them. Detailed points on each clue type are the subject of Chapter 3.

Characteristics of a cryptic clue

We will consider twelve types of cryptic clue, of which the majority conform to the principles contained in this image:

Cryptic clues (mostly) have two parts

Either the definition or the wordplay can come first in the clue sentence; and either could be exploited first to obtain the solution. Whichever does come second in your solving order acts as confirmation that you have the correct solution.

Taking each element in turn:

Definition: The definition can

• take the form of a word, or words in a phrase

• be an example of the solution (e.g. fruit can be defined as apple, perhaps)

• be a (misleadingly expressed) synonym of the solution. To this end, definitions are often words that have more than one meaning

Wordplay: This is the way to elicit the solution if the definition does not do so. It can be seen as either:

• the letters of the solution needing manipulation in one of several ways to provide another indication of the definition, or

• individual word or words in the clue having to be interpreted in a different way from the surface meaning

Perhaps strictly accurately the terms should be word and letterplay (though not, as an elderly student once stumbled over, ‘loveplay’!).

TOP TIP – DEFINITION PLACEMENT

Beginners find it much easier to decode a cryptic clue when they are told that the definition is almost always either at the beginning or end of the clue sentence or phrase.

Solution: This can be one or more words whose word-length is shown at the end of the clue in parentheses (sometimes called the enumeration).

An example of how this works is seen in this clue which has a simple juxtaposition of three parts from which the solver has to discover which parts are which before progress can be made. Here it could be that either find or above is the definition. In fact it is find.

Find record above (8)

Linkwords: Few clues are as straightforward in construction as the previous example and the first mild challenge is that there is often a linkword between the two parts to give the solution. The chart then is:

CRYPTIC CLUES WITH LINKING WORDS

Below is a clue which also starts with the definition but, in addition, has a linkword, one that is commonly used: from. The sense conveyed by from is that a synonym for church house can be formed from the two parts earlier and years (if the latter is taken as an abbreviation – more on this later).

Church house from earlier years (6)

Next is an example in which the definition is the final word in the clue and in which the linkword is in, the sense being that the wordplay is seen in the solution. This is a trickier clue than we have seen so far, as the solution tea service is split into two parts, teaser and vice, to form the wordplay.

Puzzle failing in China (3, 7)

As well as linkwords between definition and wordplay, there can also be similar linkage within the wordplay to connect its different parts. Here it is and, a simple additive indication. The other linkword is indicates that the definition can be formed from the wordplay.

ADDITIVE CLUE: What babies need is sleep and food (7)

You will notice that the last of the example clues is labelled additive. In fact all so far have been of this type, a relatively plain construction of A + B = C which we shall consider later in more detail as one of the twelve clue types, dividing these into one group of eight and one group of four. Why split clues into two groups? Because some always contain the means of identifying their type (the first eight) and others virtually always do not (the remaining four). This distinction is amplified in the section which follows.

Indicators

At this point, beginners tend to say:

‘Yes, I know that there are different types of clue but how on earth do I know which is which?’

The answer is as follows. For the first group of eight there is always a signpost to the solution, called the indicator, within the clue sentence. Remember, an indicator is the means of identifying clue types. In Chapter 3 we will consider the specific indicators for the first group of eight clue types. In the example the indicator is wrong, showing that this is an anagram clue. The concept behind this indicator is that the letters to be mixed are incorrect and must be changed to form the solution. There are many ways of giving the same anagram instruction to solvers, as you will also see in Chapter 3.

ANAGRAM CLUE: President saw nothing wrong (10)

For the remaining group of four, it’s usually a case of informed guesswork rather than indicators. This may seem unreasonable and impossible for the novice solver but I aim to prove that this is not really the case.

In the meantime, this may be a good time to point out that trial and error and/or inspired guesswork are part and parcel of good solving. This is reinforced by the clueing practice of all good setters whereby the clue type will nearly always become clear on working backwards from the solutions. Indeed, when a solver sees the solution the following day, he or she should only rarely be left thinking (as Ximenes put it):

‘I thought of that but I couldn’t see how it could be right.’

We will now proceed to examine in detail all clue types and their indicators, with one and sometimes two examples of each type.

3: Clue Types and Indicators in Detail

‘Give us a kind of clue.’ W.S. Gilbert, Utopia Limited

Until Chapter 8, we’ll keep it simple with regard to clue types. In later chapters we will see that the clue types can and often do overlap, involving more than one sort of manipulation of letters or words within any one clue.

The first eight clue types

We will now examine each of the eight clue types in detail, together with their indicators, and offer some example clues. To give yourself solving practice, you may wish from now on to cover up the bottom half of the diagram that contains the solution and wordplay.

The first eight types are shown in the circular chart below, and we shall take each in turn, working clockwise from the top.

1. The anagram clue

An anagram, sometimes termed a letter mix, is a rearrangement of letters or words within the clue sentence to form the solution word or words.

The letters to be mixed (the anagram fodder) may or may not include an abbreviation, a routine trick for old hands but, as I have observed, a cause of some discomfort for first-timers.

ANAGRAM CLUE: Mum, listen for a change (6)

This next example is an anagram clue with a linkword:

ANAGRAM CLUE: Fish and chips cooked with lard (9)

The third example is one wherein the anagram fodder goes well with the definition to form a believable whole:

ANAGRAM CLUE: The new stadium designed for a football club (4,3,6)

For is a linkword here in the sense that the wordplay is to be arranged for the answer. The essential point for indicators of anagram clues is that they show a rearrangement, a disturbance to the natural order or a change to be made. There are very many ways of doing this, some reasonably straightforward but others requiring a stretch of the imagination. For example, words and phrases related to drunkenness and madness have to be taken as involving disturbance so that stoned, pickled, tight, bananas, nuts, crackers and out to lunch could all be misleading ways to indicate an anagram. I am often asked for a comprehensive list but, because there are so many, unfortunately there is no such list. The table that follows on the next page is designed to expand on the various categories of rearrangement by giving a few examples of each overleaf:

TOP TIP - ANAGRAMS

Early crosswords did not indicate an anagram; solvers were required to guess that a mixture of letters was needed. This is universally regarded as unfair on the solver so that there will always nowadays be an indication of an anagram.

INDICATORS FOR ANAGRAM CLUES
ARRANGEMENT | sorted | somehow | anyhow
REARRANGEMENT | revised | reassembled | resort
CHANGE | bursting | out of place | shift
DEVELOPMENT | improved | worked | treat
WRONGNESS | amiss | in error | messed up
STRANGENESS | odd | fantastic | eccentric
DRUNKENNESS | smashed | hammered | lit up
MADNESS | crazy | outraged | up the wall
MOVEMENT | mobile | runs | hit
DISTURBANCE OF ORDER | broken | muddled | upset
INVOLVEMENT | complicated | tangled | implicated

2. The sandwich clue

A sandwich can be considered as bread outside some filling. Similarly in this clue type, the solution can be built from one part being either put outside another part or being put inside another part.

This is an example of outside (with an abbreviation to be made in wordplay):

SANDWICH CLUE: Simple mug holding one litre (6)

This is an example of inside with a clear instruction as to what’s to be done:

SANDWICH CLUE: Family member put us in the money (6)

Note that about has multiple uses in crosswords (see Chapter 10).

SOME INDICATORS FOR SANDWICH CLUES
OUTSIDE | contains | clothing | boxing
| houses | harbours | carries
| grasping | enclosing | including
| restrains | protecting | about
INSIDE | breaks | cuts | boring
| piercing | penetrating | fills
| enters | interrupting | amidst
| held by | occupies | splitting

3. The homophone clue

In this type, the solution sounds like another word given by the wordplay. The clue is often fairly easy to recognize but it may be harder to find the two words which sound alike.

HOMOPHONE CLUE: Reportedly makes pots (4)

Indicators for homophone clues:

Anything which gives an impression of sounding like another word such as so to speak, we hear, it’s said acts as an indicator. This extends to what’s heard in different real-life situations; for example, at home it could be on the radio; in the theatre it could be to an audience; in the office it could be for an auditor.

4. The hidden clue

A hidden clue is arguably the easiest type to solve. That’s because the letters to be uncovered require no change: they just need to be dug out of the sentence designed to conceal them. In the first example, the indicator is in:

HIDDEN CLUE: Parched in the Kalahari desert (4)

Indicators for hidden clues:

Commonly some (in the sense of a certain part of what follows), some of, partly, are unique to hidden clues; within, amidst, holding and in can be either hidden or sandwich indicators.

A variant of the hidden clue is where the letters are concealed at intervals within the wordplay, most commonly odd or even letters. You are asked to extract letters that appear as, say, the first, third and fifth letters in the wordplay section of the clue sentence and ignore the intervening letters. Note that there would not normally be superfluous words in such a clue sentence, making it easier to be certain which letters are involved in the extraction.

Here is one such clue in which you have to take only the odd letters of culture for the solution.

HIDDEN CLUE: Odd bits of culture such as this (4)

Some indicators for hidden-at-intervals clues:

Oddly, evenly, regularly, ignoring the odds, alternately.

5. The takeaway clue

A takeaway clue involves something being deducted from something else. This can be one or more letters or a whole word. In the example below it’s one letter, R, which is an abbreviation of right, and get is an instruction to the solver. It should be noted that sometimes you will find abbreviations signposted, e.g. ‘a small street’, more usually not, e.g. ‘street’. You will find in the Appendices a list of those most frequently appearing in crosswords and all of those used in the clues and puzzles of this book.

TAKEAWAY CLUE: Get employed right away in Surrey town (6)

In our second example, it’s the first letter that is to be taken away to leave the solution:

TAKEAWAY CLUE: Possess a topless dress (3)

Indicators for takeaway clues:

These tend to be self-explanatory, such as reduced, less, extracted, but, beware, they can be highly misleading, such as cast in a clue concerning the theatre, or shed in one ostensibly about the garden. Some indicators inform us that a single letter is to be taken away. These include short, almost, briefly, nearly and most of, all signifying by long-established convention that the final letter of a word is to be removed. There is more on takeaway indicators such as unopened, disheartened, needing no introduction and endless on pages 31–33, which deal with letter selection indicators.

6. The reversal clue

The whole of a solution can sometimes be reversed to form another entirely different word. In addition, writing letters backwards or upwards is often part of a clue’s wordplay, but for the time being we are concerned with reversal providing the whole of the answer. This is a clue for an across solution:

REVERSAL CLUE: Knock back beer like a king (5)

This is a reversal clue for a down solution (see below for an explanation of why this matters):

REVERSAL CLUE: Put out by mounting objections (4)

Indicators for reversal clues:

Anything showing backward movement, e.g. around, over, back, recalled.

Do be aware that some reversal indicators apply to down clues only, reflecting their position in the grid. The example above of a down clue uses mounting for this purpose; other possibilities are overturned, raised, up, on the way up and served up.

7. The letter switch clue

Where two words differ from each other by one or more letters, this can be exploited by setters so that moving one or more letters produces another word, the solution. Here is an example in which you are instructed to shift the W for West in when in a way that produces a word meaning axed. You are not told in which direction the move should be, but here it can only be to the right.

An extra point to be brought out here is that if a pause or comma after the first two words is imagined, the instruction should become clearer. This imaginary punctuation effect is common to many crossword clues; see Chapter 4, pages 40–42, for more on this point.

LETTER SWITCH CLUE: Axed when West’s moved (4)

There is also a form of letter switch in which letters are replaced; see Chapter 8, page 70, for more on this.

8. The all-in-one clue

In many crossword circles this is also known as & lit, christened by Ximenes. However, I have found my workshop participants usually consider this too cryptic a name! It actually means ‘and is literally so’ but people tend to puzzle over that at the expense of understanding the concept.

In fact, it is a simple one that I prefer to call all-in-one, which is what it is: the definition and wordplay are combined into one, often shortish sentence which, when decoded, leads to a description of the solution.

ALL-IN-ONE CLUE: Heads of the several amalgamated Russian states (5)

This clue relies on the letter selection indicator heads (see page 31) to provide the solution. Most of the clueing techniques outlined earlier can be used to make an all-in-one clue (see examples in Chapter 8), always providing that the definition and wordplay are one and the same.

Probably the commonest type is an all-in-one anagram, with an anagram as part or all of the wordplay and no extra definition needed because it has been provided by the wordplay. Here is an example:

ALL-IN-ONE ANAGRAM CLUE: A pot’s stirred with one? (8)

Incidentally, this clue demonstrates how punctuation can give you some help with a clue. The question mark is telling you that a pot isn’t necessarily stirred with a spoon but it may be. For examples of when punctuation is not so helpful, see Chapter 4 (page 40–41).

The remaining four types

Now we will focus on the remaining four clue types. Remember that these four normally do not include indicators within the clue sentence. Here they are together in one chart from which we will proceed to examine each one in turn, starting at the top and going clockwise.

How do we recognize these when no indicator is normally included?

Punctuation may occasionally be helpful in some of these clues but it’s mainly intelligent guesswork that’s needed. Are these types therefore harder? You can judge for yourself but I’d say not necessarily.

9. The double definition clue

This is simply two, or very occasionally more, definitions of the solution side by side. There may be a linking word, as in the second example, such as is or ’s, but most frequently there is none, as in this clue.

DOUBLE DEFINITION CLUE 1: Shoots game (5)

DOUBLE DEFINITION CLUE 2: Pools entries making one a rich man (5)

Indicators for double definition clues:

To repeat, no specific indicator is ever given. It can nonetheless often be guessed by its shortness, or by two or more words, lacking an obvious linkword. With only two or three words in a clue, there’s a good chance it’s a double definition. One way of spotting this type of clue is an and in a short clue, e.g. Bit of butter and jam (6) for scrape:

DOUBLE DEFINITION CLUE 3: Bit of butter and jam (6)

10. The additive clue

As we saw at the very beginning of this book, an additive clue consists of the solution word being split into parts to form the solution. Sometimes known as a charade (from the game of charades, rather than its more modern meaning of ‘absurd pretence’), it may be helpful to describe it as a simple algebraic expression A + B = solution C. Here is one with several misleading aspects. Note the use of the linking phrase employed ahead of, telling you to join part A to part B:

ADDITIVE CLUE: Pole employed ahead of young local worker (8)

Indicators for additive clues:

With no specific indicator, it’s a question rather of spotting that A + B can give C, the solution. Sometimes this is made easier by linkwords such as employed ahead of (as in the earlier clue), facing, alongside, with, next to, indicating that the parts A and B have to be set alongside each other. In the case of down clues, the corresponding linkwords would be on top of, looking down on and similar expressions reflecting the grid position of letters to be entered.

11. The cryptic definition clue

There are no component parts at all to this clue, which consists simply of a misleading, usually one-dimensional, way to describe the solution. Depending on how much information is imparted by the clue, it can be very easy or very tough. The best of these clues have an amusing or whimsical air, as in both these examples:

CRYPTIC DEFINITION CLUE 1: Women can’t stand going there (6)

CRYPTIC DEFINITION CLUE 1: He’s been known to pot the white (8)

Indicators for cryptic definitions:

The nature of this clue type is such that no indicator is ever given. It can be identified either from the fact that nothing in the clue looks like an indicator, and/or from the presence of a question mark. A tip is to look hard at words which have more than one meaning and then think below the surface. Otherwise, wait until some intersecting letters are available.

12. The novelty clue

From the inception of crypticity in crosswords, there have been innovative clues conforming to no single pattern which defy categorization into any of the preceding groups. These clues are often solved with extra pleasure.

The setter has found it possible to exploit coincidences or special features of a word. As with the cryptic definition type, the solver is asked to think laterally and throw away any misleading images created by the clue. In some rare circumstances when an especially novel idea is used, there may not even be a proper definition. There are more examples of the novelty clue in Chapter 8 but, as a taster, here is one:

NOVELTY CLUE: Eccentric as three-quarters of the characters in Fiji? (5)

TOP TIP – CLUE FREQUENCY

Given the twelve clue types identified, which are the most commonly found? The answer to this is that frequency patterns vary according to setter and newspaper but that the additive, anagram, cryptic definition and sandwich types are the most common; they may indeed account for more than half the clues in many crosswords. It may help you to know that there are rarely more than two or three of the following types in any one puzzle: hidden, homophone, all-in-one, novelty, letter switch. As we shall see later, setters make use of more than one type of wordplay within any one clue so that, for example, a sandwich clue can include a reversal, a takeaway or an anagram element within it.

Letter selection indicators

Before moving on to solving clues, we have to consider how individual letters within clues are signposted. We have seen what sort of indicators go with what sort of clues; now we’ll take a look at another commonly used indicator which is essential to solving skills. Take this clue as an example:

ADDITIVE CLUE: Lettuce constituent of salad, primarily (3)

Experienced solvers would be immediately drawn towards the word primarily as it indicates that the first letter or (as in this case) letters of the preceding words are to be selected as building blocks to the solution. In more complex clues they could then be subject to further treatment, such as forming part of an anagram, but here they are used simply to form cos, the lettuce salad ingredient.

There are many alternative ways of showing that the first letter is to be manipulated in some way. Some of these indicators are: starter, lead, source, opening, top, introduction and so on. They may be extended to the plural form too with the use of, say, beginnings, foremost and heads. Note that bit of, part of and suchlike always indicate the first letter.

Naturally, other positions within words are indicated in a similar fashion. The last letter can be end, back, finally, tail and the middle letter centre, heart, and all of the inside letters of a word can be innards, contents, stuffing.

In their negative takeaway guise, they can be headless, unopened, failing to start; and empty signifies that the whole of the innards of a word is to be removed.

Overleaf are some examples of letter selection indicators at work:

TAKEAWAY CLUE: Endless industrial action in a Scandinavian port (4)

ADDITIVE CLUE: What’s tedious and instils such listlessness? Every second of this (5)

After a time, you will become familiar with looking beyond and through the surface meaning of a word doing duty as an indicator so that you realize what you are required to do to the relevant letter(s) or word(s).

Beware letter selection indicators that, depending on the setter’s policy, can do double or triple duty:

Endless: takeaway last letter only, or first and last letters.

Head: first letter, or takeaway first letter (in its sense of behead).

Cut: last letter takeaway, sandwich (inside type), anagram (in its slang sense of drunk).

Back: last letter, reversal.

Note that in the example below extremely indicates first and last letters, in some crosswords it can indicate the last letter only of the preceding word.

ADDITIVE CLUE: Robin’s slayer uses extremely sharp weapon (7)

There are examples of indicators throughout this book but it would take an impossibly large volume to include all those used. There are books which list more (as covered in Chapter 13) but even they are not comprehensive. The point to bear in mind is that once you are aware of the possible clue types, you will often be able to infer from a word or words what you are being instructed to do.

What can be difficult, however, is where the same common word in the English language serves as an indicator for several clue types. The words in and about are the most problematic examples of this and you will find more about these and equally troublesome words in Chapter 10.

Chapters 1–3: summary

Here are two charts offering in summary form the basic points of Chapters 1, 2 and 3. First, a summary of clue types, typical indicators and what the solver must do:

CLUE TYPE TYPICAL INDICATORS WHAT TO DO
Types 1–8 | Indicators included in clue |
ANAGRAM | New, mixed, changing, drunk, in error | Change letters to another word
SANDWICH (OUTSIDE) | Holding, keeps, contains | Put some letters outside others
SANDWICH (INSIDE) | In, breaks, cutting, interrupts | Put some letters inside others
HOMOPHONE | Mentioned, we hear | Find a word sounding like another
HIDDEN | Some, partly, within | Find a word within other words
REVERSAL (ACROSS CLUE) | Back, over, returns | Turn letters backwards
REVERSAL (DOWN CLUE) | Up, over, served up | Turn letters upwards
TAKEAWAY | Less, without, drop, cast | Deduct some letter(s) from a word
LETTER SWITCH | For, replacing, moving | Exchange or move letters
ALL-IN-ONE | Various, depending on wordplay | Use wordplay to find solution which is then defined by the wordplay
Types 9–12 | Indicators (usually) not included in clue |
ADDITIVE | Usually none given | Add letter(s) to other letter(s)
DOUBLE DEFINITION | None given | Find solution from two or more distinct definitions, side by side
CRYPTIC DEFINITION | None given | Find solution from puns, hints, ambiguities; ignore surface reading
NOVELTY | None given | Think laterally

Second, let’s see how each clue type (apart from a novelty clue) could be applied, using the same solution word in each. That word is time

Конец ознакомительного фрагмента.

Текст предоставлен ООО «ЛитРес».

Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.