order to communicate with my creative partners. I could see many ways in which the editing process echoes the writing process, and imagined new possibilities for com bining the two. I learned new principles and gave the old theories a good workout. T h e process of editing seemed to me to be a lot like making a wooden boat, like one of those sleek dragon-ships the Vikings made. T h e spine of the story is like the keel, the major plot points are the ribs, and the individual scenes and lines of dialogue are the planks and rigging that complete the vessel, a vehicle for your vision that you hope will sail on the seas of public attention. Another insight from the editing room was a greater appreciation of the i m portance of focus. I realized that focused attention is one of the rarest things in the world, and that an audience is giving a lot when they devote their full attention to
ship 35732 ships 10762 the code is a two-part code, because a second section, in which the code elements are in regular order, is required for decoding: codenumber plaintext 10980 was not 10981 spontaneous (ly) 10983 shielding 10986 April 13 10988 withdrawn from 10990 acknowledge In a sense, a code comprises a gigantic cipher alphabet, in which the basic plaintext unit is the word or the phrase; syllables and letters are supplied mainly to spell out words not present in the code. In ciphers, on the other hand, the basic unit is the letter, sometimes the letter-pair (digraph or bigram), very rarely larger groups of letters (polygrams). The substitution and transposition systems illustrated above are ciphers. There is no sharp theoretical dividing line between codes and ciphers; the latter shade into the former as they grow larger
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