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Time of India
a day ago
- Entertainment
- Time of India
How Frederick Forsyth wrote The Day Of The Jackal in just 35 days
Frederick Forsyth, the acclaimed British author who turned his adventures as a journalist and work with MI6 into bestselling thrillers, has died after a brief illness at the age of 86. Tired of too many ads? go ad free now Although his first book as an author was The Biafra Story, which came to fruition because he wasn't allowed to cover the Nigerian Civil War between Biafra and Nigeria as a BBC correspondent due to the organization's 'policy'. As Forsyth 'smelt news management,' he quit his job at the BBC, flew out there, stayed there for most of the next two years, and ended up writing The Biafra Story as a freelance journalist and budding author. However, it was The Day of the Jackal, his first full-length novel, that he finished writing in 35 days, that propelled him to achieve unparalleled success and recognition. But as Forsyth had admitted on multiple occasions, he was not even interested in writing or becoming a writer. As a boy, he said, he wanted to be "a fighter jock," and when he traded his career in the RAF for journalism, it was "to see the world" as a foreign and war correspondent. As for becoming a novelist, he confessed, "I never wanted to be a writer," but wrote his first full-length novel, The Day of the Jackal, because he was "skint, stony broke. " Turns out, Forsyth's stint with writing was not born out of some artistic aspiration, but more of a financial need. However, that financial need drove him to write his debut novel, The Day of the Jackal, in just 35 days, which went on to become a masterpiece and a bestseller. Tired of too many ads? go ad free now From war zones to the typewriter: In 1969, Forsyth returned to London after covering the Biafran War for Reuters and the BBC. At 31, he was financially strained, with 'no job, no prospects, no flat, no car, no savings,' and seeking a quick way to clear his debts. Desperate to make money, he 'hit on the most no-hope-in-hell way of making some: write a novel.' Drawing inspiration from his journalistic experiences, he decided to write a political thriller. As per the author himself, 'I just sat down and wrote about the invisible assassin with no name. I knew my material; I had walked every inch of it. I wrote night and day for 35 days.' The result was The Day of the Jackal, a novel about an unnamed assassin hired by the OAS to kill French President Charles de Gaulle. Forsyth completed the manuscript in just 35 days, using a portable typewriter, as the novel witnessed a storyline packed with full of operational details and putting fictional characters cheek by jowl with public figures, which brought a new realism to the thriller genre. A realist's approach to fiction: The Day of the Jackal is based on rumors and a real-life assassination attempt plot against French President Charles de Gaulle. The novel focuses on a professional assassin, known only as the Jackal, who is hired to kill de Gaulle. The plot is a fictionalized account of a plan that was allegedly hatched by the Organisation de l'Armée Secrète (OAS), a French dissident paramilitary group, to assassinate de Gaulle in the summer of 1963. While the novel incorporates elements of actual events and the OAS's activities, the specific assassination plot and the Jackal's actions are fictional. Forsyth's journalistic background deeply influenced his writing style. Call it a professional hazard or a boon, he applied similar meticulous research techniques to those used in journalism. He employed a documentary-like approach to storytelling, focusing on authenticity and detail. This realism set his work apart from other thrillers of the time, which often leaned heavily on imagination. Forsyth's commitment to realism was evident in his portrayal of the assassin's meticulous planning and the subsequent manhunt, which mirrored real-life investigative procedures. From rejected manuscript to worldwide bestseller: Despite its compelling narrative, Forsyth faced multiple rejections from publishers who doubted the commercial viability of a fictional account of de Gaulle's assassination and the story of the novel itself, which involved a fictional OAS-hired assassin targeting de Gaulle. They argued that since de Gaulle had survived multiple assassination attempts and was alive when the book was written, the plot lacked suspense. Forsyth persisted, eventually securing a deal with Hutchinson & Co. The novel was serialized in the London Evening Standard and Haaretz, gaining significant attention. Upon its full release in 1971, The Day of the Jackal became an international bestseller and was adapted into a film, released two years later. The legacy of the storyteller Forsyth's debut novel not only launched his career but also set a new standard for the political thriller genre. His emphasis on realism and detailed storytelling influenced a generation of writers, including Robert Ludlum and Tom Clancy. Forsyth continued to write bestsellers such as The Odessa File, The Dogs of War, and The Fourth Protocol, solidifying his reputation as a master of suspense and intrigue. From an enthusiastic journalist to an acclaimed novelist – while living a life of an MI6 spy in between – Forsyth's journey is a testament to wielding the power of real-world experience in crafting compelling fiction. His ability to translate the complexities of international conflict and espionage into gripping narratives has left an indelible mark on the literary world. The Day of the Jackal remains a testament to his skill, discipline, and unwavering commitment to authenticity, even after over half a century since it was first published. Arjun Bijlani Spotted At Airport With Family
Time of India
a day ago
- Entertainment
- Time of India
Frederick Forsyth Death: 10 remarkable facts about the master storyteller—that seem fake
When Frederick Forsyth passed on to Elysium on June 9, 2025, at the age of 86, it marked the end of a literary era that fused storytelling with surveillance, narrative with national security. Tired of too many ads? go ad free now His novels didn't just entertain—they instructed. They didn't merely imagine what could go wrong in the corridors of power—they reverse-engineered how it might happen, step by meticulous step. Forsyth's life was as compelling as his fiction: a Royal Air Force pilot, a war reporter censored by the BBC, an MI6 asset, and a bestselling novelist whose understanding of realpolitik was sharp enough to worry governments. He wrote thrillers, yes—but thrillers with classified undertones. Here are ten remarkable facts about the man who turned geopolitics into gripping fiction and fiction into geopolitical insight. 1. He Rewired the Modern Thriller into a Machine Before Forsyth, spy thrillers were either romanticised (James Bond) or psychological (George Smiley). He introduced a third way: technical, procedural, and deeply embedded in the machinery of statecraft. His prose was efficient, his plots logical to the point of inevitability, and his characters often secondary to the operation itself. In his novels, tension came from the detail: the timing of a train, the forging of a passport, the exact dimensions of a rifle part hidden in a suitcase. Plot was king. Emotion, a luxury. 2. He Was a Fighter Pilot Before He Was a Reporter Forsyth joined the Royal Air Force at 19 and flew de Havilland Vampire jets during his national service in the 1950s. At one point, he was the youngest pilot in the RAF. This early training in discipline, focus, and logistics would later become the framework for his fiction. Tired of too many ads? go ad free now His novels are structured like flight plans: precise, pre-checked, and unflinching in their execution. 3. He Quit the BBC When It Tried to Suppress His Reports on Genocide As the BBC's Africa correspondent during the Nigerian Civil War, Forsyth was horrified by what he saw in Biafra: starvation, massacres, and a humanitarian crisis unfolding in slow motion. But the BBC, under government pressure, censored his dispatches. Disgusted, he resigned. He later published The Biafra Story in 1969—a brutally honest account that accused the British state of complicity in war crimes. That break with institutional media shaped his career. Fiction, he realised, could sometimes speak where journalism was gagged. 4. He Wrote The Day of the Jackal in 35 Days on a £500 Gamble In 1970, unemployed and living in a modest flat, Forsyth decided to fictionalise a failed real-life plot to kill French President Charles de Gaulle. He wrote The Day of the Jackal in just over a month, relying on research, precision, and instinct. The book had no named protagonist, no dramatic arc, and a known outcome. Still, it became a bestseller, selling over 10 million copies, winning awards, and becoming a film. It also became required reading for intelligence trainees, thanks to its detailed depiction of clandestine operations. 5. He Fooled Real Mercenaries to Research The Dogs of War To write The Dogs of War, Forsyth orchestrated a fictional coup in a fictional African country. He recruited real mercenaries, mapped out logistics, arranged weapons shipments, and led them to believe they were about to topple a real regime. Only at the last moment did he reveal the operation was fake—a research exercise for a novel. The mercenaries were furious. The book, meanwhile, became a classic. It exposed how corporations could exploit post-colonial instability to stage regime change. 6. He Was an MI6 Asset for Over Two Decades Forsyth confirmed in 2015 what had long been rumoured: that he had worked as an informal asset for MI6 for more than twenty years. His global travel, his journalist's cover, and his instinct for detail made him a valuable cut-out. He wasn't a spy in the cinematic sense. He didn't kill, carry arms, or steal secrets. He observed. He reported. He blended in. And, occasionally, he wrote fiction that came uncomfortably close to fact. 7. He Was Reportedly Involved in South Africa's Nuclear Disarmament Talks During the late 1980s, Forsyth travelled frequently to Southern Africa, particularly Rhodesia and apartheid-era South Africa. It has been reported—though never officially confirmed—that he acted as an intermediary in backchannel discussions about nuclear disarmament. According to sources close to British intelligence, Forsyth offered informal counsel to South African officials on the logistics and diplomatic value of dismantling their nuclear arsenal. In 1989, South Africa began the process, becoming the first nation in history to voluntarily give up nuclear weapons. 8. He Sold Over 75 Million Books, All Written by Hand Forsyth never used ghostwriters or research assistants. He wrote every sentence himself—often in longhand. His bibliography spans more than 20 books, translated into 30 languages and read by presidents, spymasters, and soldiers. From The Odessa File to The Fist of God, his novels exposed war crimes, arms trafficking, the drug trade, and terrorist financing. Several prompted concern from Western governments due to their alarming accuracy. 9. He Predicted Putin's Rise in Icon In 1996, Forsyth published Icon, a novel set in a post-Soviet Russia teetering on collapse. The villain is Igor Komarov, a former KGB officer turned populist nationalist who conceals a secret manifesto outlining his plan to restore authoritarian rule. Three years later, Vladimir Putin took power. The novel, once considered far-fetched, now reads like prophecy. Forsyth didn't just write thrillers—he extrapolated trends. He saw Russia's future before most analysts did. 10. He Had a Dalliance With an Eastern Bloc Spy In his 2015 memoir The Outsider, Forsyth admitted to a brief romance in his youth with a woman later revealed to be an agent for the Czech secret police. He described it as a lapse in judgement, though he learned quickly how intelligence agencies use relationships to extract information. Like many of his protagonists, Forsyth learned his lessons the hard way—and wrote them down for others to read. The Final Dispatch Frederick Forsyth didn't just redefine the thriller. He redefined the relationship between writer and truth. His stories were thrilling because they were possible. His villains were terrifying because they were plausible. His style was cool, exact, unsentimental—yet layered with meaning for those willing to pay attention. He believed that good fiction could explain bad politics. That well-constructed lies could reveal hidden truths. And that sometimes, a novelist was more useful to a nation than a dozen diplomats. He is gone now. But his books remain—quiet, exact, and dangerous in the best possible way.
Yahoo
08-03-2025
- Entertainment
- Yahoo
OPINION - Dream Count by Chimamanda Ngozi Adichie: a beautifully written triumph
Chimamanda Ngozi Adichie feels contemporary culture is guilty of 'shying away from the all-too human possibility of contradiction'. Her fourth novel, Dream Count, deals beautifully with the fallibility of perception. It is told from the perspectives of four connected women — travel writer Chia, who grew up in Nigeria but lives in America, her best friend Zikora, her outspoken cousin Omelogor and her housekeeper, Kadiatou. The reader is treated to rich portraits of their love lives, their desires and their experiences of womanhood, from childbirth and painful periods to the indignity and unfairness of a ticking body clock. The novel opens unglamorously in the middle of the pandemic, with Chia worrying about having touched her face before washing her hands and having dismal discussions over Zoom about loo roll shortages. Yet lockdown is a vehicle for Chia to do that very 2020 thing: to pause and reflect. She looks back on a catalogue of failed romances which have culminated in her being 'confronted with the crime of singleness' in her forties, with relatives begging her to get IVF. First there is Darnell, a moody intellectual who is contemptuous of Chia's frivolous travel writing and family money (her father is a wealthy businessman in Nigeria) yet also preoccupied with the spoils of it. Chia is constantly seeking the approval of Darnell and his sanctimonious academic friends, who are 'tribal, but anxiously so' and describe everything as 'problematic'. To them, Chia is a contradiction. As her cousin puts it: 'They can't stand rich people from poor countries, because it means they can't feel sorry for you.' Others attempt to mould Chia into the person they think she ought to be: a New York editor expresses interest in her, but asks if she'll write about, say, the war in Sudan. Our expectations are confounded in real time alongside the characters. There is Chuka, the man who seems so square, who wears his shirt tucked in even at weekends and reads books about leadership and project management. Chia has sex with him not because she wants to, but because 'he somehow deserved it, being so proper and attentive'. She thinks the sex will be pedestrian, yet he ends up proving her 'unutterably wrong'. Chia pivots from describing him as a strait-laced bore to admitting that 'Chuka was my old fashioned fantasy: a manly man'. Just as in real life, the characters' perceptions of each other are constantly overwriting themselves. Half of a Yellow Sun Adichie's second novel is about the Nigerian Civil War — it won the 2007 Women's Prize for fiction Americanah Her third, beautifully observed, novel follows Ifemelu as she moves from Nigeria to study in America Notes on Grief A non-fiction book published in 2021, after the death of her father, James Nwoye Adichie, in the first wave of Covid Dream Count is Adichie's first novel since Americanah, which was published in 2013. If that was a coming-of-age story, then Dream Count examines what happens when the happily ever after doesn't quite go to plan. The author had writer's block in the years between the two novels, during which she had her first child. Adichie has spoken of the 'violence' and animalistic nature of childbirth, which is reflected in the novel through Zikora's own experience of feeling 'briefly and brutishly reduced' to an animal in the delivery room. Adichie's fiction has a lightness of touch and never feels instructive Women's bodies and the tribulations they go through are a constant theme. While Adichie is both political and politicised, her fiction has a lightness of touch that never feels instructive. Unlike Sally Rooney, whose books about love and relationships are punctuated by characters having lengthy discussions about socialist ideology which feel like authorial interjections, Adichie's writing about love and relationships naturally makes space for her feminism. Adichie is the master of writing about feelings which are difficult to put a finger on, whether it's the 'exquisite ache of wanting to love a lovely person that you do not love,' or the way our minds work in the counterfactual when we think about regret. Chia, looking back on her failed relationships, says this: 'I grieved what I did not even know to be true, that there was someone out there who had passed me by, who might not just have loved me but have truly known me.' Adichie often says she is preoccupied with telling the truth. How often you will read a line from Dream Count and think how utterly true it is. Claudia Cockerell is editor of Londoner's Diary Out now (4th Estate, £20)
The Independent
02-03-2025
- Entertainment
- The Independent
Author William Boyd explains how Nigerian Civil War experience shaped his work
Author William Boyd has recalled how his work was shaped by an experience during the Nigerian Civil War involving 'six or seven drunk soldiers with their AK-47s'. The writer, known for novels including A Good Man In Africa, was born in Ghana in 1952 and moved to Nigeria with his family in 1964, three years before the Biafran War began. 'You couldn't escape the war,' he told BBC Radio 4's Desert Island Discs. He continued: 'One great event, which really did shape and change my thinking was, I was learning to drive, and we used to drive on deserted roads at the edge of the campus, with my father teaching. 'And we were driving home, he took a shortcut, and we passed a road block, a very flimsy road block, and my father spotted it, screeched to a halt, but out of the bushes came six or seven drunk soldiers with their AK-47s shouting and screaming at us because they thought we were trying to avoid the roadblock. 'They ordered us out of the car, guns pointing at us. And that moment, I thought, this could all go horribly wrong, because they were out of control, there was no officer. 'We were alone on a road in the bush. My father, to his great credit, said, 'Call that a roadblock, you useless bunch of soldiers'. 'And he upgraded them, and they started to laugh, and the whole thing was diffused, but I've never forgotten that moment of knife edge, 'uh oh. This could all end very, very badly.' 'It's affected my work, and it's affected the way I look at conflict and the way I understand wars. 'Because, even though I was never in any great danger, I did live in a country that was tearing itself apart in a civil war, and saw and had friends in the African army and heard their stories. I realised that real war is nothing like the movies.' He continued: 'I think things that happened to me, like that moment of the roadblock in Nigeria, or my father's early death, and my wife's mother's early death… showed me that the universe is a kind of random, unsparing place. 'So I came up with this idea that everybody has their share of good luck and their share of bad luck, and with most people that the two piles that accrue in their life sort of match up, but don't expect the road to be straight and narrow.' His first novel, A Good Man In Africa, won him the first novel gong at the Whitbread Literary Awards, now the Costa Book Awards, in 1981. It was turned into a 1994 film starring Sean Connery and John Lithgow. His other novels include Love Is Blind, Restless, which was adapted for TV, and Waiting For Sunrise. Following in the footsteps of authors including Sir Kingsley Amis and Sebastian Faulks, he also wrote Solo, a James Bond continuation novel released in 2013.
Yahoo
02-03-2025
- Entertainment
- Yahoo
Author William Boyd explains how Nigerian Civil War experience shaped his work
Author William Boyd has recalled how his work was shaped by an experience during the Nigerian Civil War involving 'six or seven drunk soldiers with their AK-47s'. The writer, known for novels including A Good Man In Africa, was born in Ghana in 1952 and moved to Nigeria with his family in 1964, three years before the Biafran War began. 'You couldn't escape the war,' he told BBC Radio 4's Desert Island Discs. He continued: 'One great event, which really did shape and change my thinking was, I was learning to drive, and we used to drive on deserted roads at the edge of the campus, with my father teaching. 'And we were driving home, he took a shortcut, and we passed a road block, a very flimsy road block, and my father spotted it, screeched to a halt, but out of the bushes came six or seven drunk soldiers with their AK-47s shouting and screaming at us because they thought we were trying to avoid the roadblock. 'They ordered us out of the car, guns pointing at us. And that moment, I thought, this could all go horribly wrong, because they were out of control, there was no officer. 'We were alone on a road in the bush. My father, to his great credit, said, 'Call that a roadblock, you useless bunch of soldiers'. 'And he upgraded them, and they started to laugh, and the whole thing was diffused, but I've never forgotten that moment of knife edge, 'uh oh. This could all end very, very badly.' 'It's affected my work, and it's affected the way I look at conflict and the way I understand wars. 'Because, even though I was never in any great danger, I did live in a country that was tearing itself apart in a civil war, and saw and had friends in the African army and heard their stories. I realised that real war is nothing like the movies.' He continued: 'I think things that happened to me, like that moment of the roadblock in Nigeria, or my father's early death, and my wife's mother's early death… showed me that the universe is a kind of random, unsparing place. 'So I came up with this idea that everybody has their share of good luck and their share of bad luck, and with most people that the two piles that accrue in their life sort of match up, but don't expect the road to be straight and narrow.' His first novel, A Good Man In Africa, about a minor official in the fictional African country of Kinjaja, won him the first novel gong at the Whitbread Literary Awards, now the Costa Book Awards, in 1981. It was also turned into a 1994 film starring Sean Connery and John Lithgow. His other novels include Love Is Blind, Restless, and Waiting For Sunrise. He also wrote, Solo, a James Bond continuation novel released in 2013.
