If you’ve solved a few cryptic crosswords, you’ve already got a good idea of how cryptic clues work. But there are several basic conventions of the art that any new constructor should be aware of:
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The definition half of the clue and the clue solution must be the same part of speech.
The definition half of the clue can’t be the phrase “at work” if the word you’re trying to clue is “job.” The first is an adjective phrase and the second is a noun. Watch out for those extra little words creeping in and muddying the waters.
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You can clue the specific with the general but not the general with the specific.
For example, you can use the word “car” to clue “limo” but you can’t use the word “limo” to clue car. In the latter case, you will need to use a construction like “limo, for example.” You will find a whole list of phrases for this purpose here.
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You cannot use synonyms for anagram fodder or with parts-of-words indicators.
For every other type of clue, you are expected to use synonyms to hide the wordplay (like cluing the word “mustache” with the phrase “has to hurt”). But with anagrams, you have to present the solvers with the exact word or phrase that needs to be anagrammed:
WRONG: “Demolitions expert shredded documents”
RIGHT: “Demolitions expert shredded papers” [1]
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Punctuation doesn’t matter — until it does.
One great way to hid a clue’s definition/wordplay division is to break the sentence up elsewhere, with punctuation. For example:
In the midst of revolting, “Get over it!” is your power to effect change (4) [2]
You get so caught up in the surface sense that it makes it harder for you to parse the clue. (Solution below.)
There are two instances, however, were punctuation matters a great deal:
- A question mark at the end of a clue indicates that there is something more-than-usually tricky about the clue:
Oddly odd – odd like this clue? (3) [3]
- An exclamation point at the end of a clue indicates that the clue in its entirety is acting as both the definition and wordplay halves of the clue at the same time. This is called an “&lit.” clue:
Dreary, losing attention! (3) [4]
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In homophone and reversal clues, think twice before you put the indicator in between the definition and wordplay.
It’s an issue if both words clue each other as definitions. For example:
“Royal returned beer (5)”
You see the problem: are we using the word “regal” to clue “regal” or the word “beer” to clue “lager?” It may be a perfectly valid clue, but to solvers this will be more frustrating than entertaining.
If you really have to put the indicator in the middle, there are ways to do it without the ambiguity. Some indicators and grammar structures are directional, such as:
“Royal comes back for beer (5)” (“royal” is the word that’s “coming back”)
“Royal putting back beer (5)” (“beer” is the word that’s being “put back”)
With homophones, word pairs of different lengths (“rapt” and “wrapped,” not “hair” and “hare”) also help.
Again, it’s not a rule, but it is a common feature in new composers’ puzzles. Just avoid it if you can.
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[1] SAPPER *
[2] Here is the clue again with the standard half marked:
In the midst of revolting, “Get over it!” is your power to effect change (4) = VOTE (R) (H)
Not only can “it” not be a part of the wordplay, but you need “it” as part of the standard clue for the full definition.
[3] O[D]D [O]D[D] – The standard half of the clue is ”like this clue?”
[4] DR[EAR]Y – the three-word clue provides both the standard clue and the word play, using all three words each time.
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