Wilber: You make an important point about the short-form telegraph. The only thing I see that easily manipulates deception is when an editor decides that the indication [Hoover, z.B. must be familiar]. The “z.B.” is often used when you refer to a member of a category instead of a direct synonym. If you look at previous appearances in the New York Times, it has become with or without “z.B.” WEINTRAUB and WILBER: the enigmatic debate whether the use of clues from these databases is plagiarism. Beyond decency, a manuscript, which is just a parade of recycled clues, forces an extra-working editor to inject something new. WEINTRAUB: As long as we`re referring to the resources, one of them is already mentioned in the first part of this series, XWordInfo.com created by former Wordplay author Jim Horne and currently managed by webmaster Jeff Chen. Just enter a word in the site`s search function, and if it`s an entry in a New York Times puzzle, you can see the date of each appearance, the author of the puzzle, and the indication. Through this handy tool, you can see what tips have been used in The Times so that you know what to avoid if you are trying to find something original. Or let`s say the same clue was used 11 times for a single entry – if Will Shortz couldn`t find a new point of view on it, you could take that either as a challenge or as a sign to surrender and focus your originality elsewhere. We need to make sure that we don`t accidentally set the plural film to 34 Across as singular, because that would be unfair to the trigger; In some clues, we want to misguide the ground, but we always play fairly! WEINTRAUB: As mentioned earlier, this puzzle contains many proper names.
So I`m looking for ways to open up a person`s name as something other than a person. For GARY, I will take care of the geography, but I will still try to keep it alive. In fact, I feel a song coming. [____, Indiana” (“The Music Man”). Each puzzle is happy to find a factoid that could revive a common entrance, but don`t do it just anywhere. Solver will oppose: “Too much like an episode of Jeopardy!” Yes, we want the puzzles to tap into current events, pop culture and a bit of expertise, but some timelessness and a fictional celebration of vocabulary is also important. If we look at the options for the fourth topic, we could decide what we think is most important – a strict “echo” that is conveyed, or more variation. Note that Robyn gave up any reference to a puzzle, and with CALL NUMBER, I avoided anything related to the Dewey decimal system because you want to allow the original library – also known as the basic phrase – to speak for itself without alluding to it. Generally speaking, your task is to tell only the thematic version of the sentence; here, a musical number combined with telephone CALLs. The original meaning is not where the humor is, but the role of the designer is to distort the meaning to make the resolvers laugh and bring the solver to the right answer. If you write a clue for MANLY that refers to a particular person, it will likely be altered, unless there is an iconic literary character that most know is MANLY. It`s not the same [What I tell my brother every time he wears socks with sandals] because it`s too self-referentable, and ROTTER is not [One that spans two parking spaces, let`s say].
A few indie puzzles treat them with imaginative clues in this sense, but most crossword puzzle locations don`t follow this path. But if we go back to one of the previous ideas, we can try [song on a crossword?]. That`s good, but I think it can be stronger. Why not [song for a crossword puzzle enthusiast?]? I really like it because we added complexity without making things more difficult. Not only do we define music, but we have also identified the audience for music.