In fact, crosswords are made by people (called constructors) whose status is roughly equivalent to freelance writers—that is to say, low. Puzzles are sent on spec to editors, who buy them or turn them down, and who fine-tune the ones they accept without, as a nearly universal rule, consulting the constructor. Submissions may sit in an editor's inbox for months or even years before the author hears back. (A few months ago, constructor Tim Croce received an acceptance from The New York Times—for a puzzle he submitted in 2001.) Even after a puzzle is accepted, the constructor may not know in advance when it will run. Attribution comes in the form of fine-print bylines, and in syndication the author's name is often excluded altogether. And this is true not just at The Times, but at other papers that run puzzles, such as Newsday and the LA Times. If you're hoping for riches, you'll be disappointed. Pay is—to use a puzzle term—olid (foul). Most outlets offer less than $100 for a daily crossword and less than $300 for a Sunday-sized, despite the huge number of readers who presumably buy the paper in part or in whole for the crossword, and despite the substantial labor and creative energy that construction requires. For aspiring constructors, things don't look so rosy—but that's changing.

The financial stakes of the crossword are higher than a casual solver might realize. The New York Times, which runs the most prestigious American crossword series, pays $200 for a daily or $1,000 for a Sunday, which is certainly more generous than its competitors. However, The Times also makes piles of money from its puzzles. Standalone, online subscriptions to the crossword cost $40 a year ($20 for those who already subscribe to the dead-tree edition of the paper). In this 2010 interview, Will Shortz, the paper's famed puzzle master, estimated the number of online-only subscribers at around 50,000, which translates to $2 million annually.

Meanwhile, The Times buys all rights to the puzzles, allowing them to republish work in an endless series of compendiums like The New York Times Light and Easy Crossword Puzzles. In that same interview, Shortz called these "about the best-selling crossword books in the country." All royalties go to the New York Times Company, the constructor having signed away—as is the industry standard—all of his or her rights. Visitors to NYTimes.com will also be familiar with the crossword merchandise—mugs, shirts, calendars, pencils, and the like—pitched aggressively by the paper, and perhaps also with the 900 number answer line, which still makes some money from a presumably less Google-minded segment of solvers. Finally, the crossword has a significant impact on overall circulation. Lots of people buy the paper, or even subscribe, in whole or part because of the puzzle. Of course the feature has expenses as well, including Will Shortz's salary, the cost of testing, and so on, but these are moderate compared to the millions of dollars that the puzzle earns from a variety of revenue streams. And out of that total, constructors collectively earn well under $200,000.