A Quote by David Lagercrantz

I was so obsessed by Lisbeth Salander and all the characters, but of course if you're going to write a crime novel worthy of Stieg Larsson, you need a plot, don't you?
I feel more related to some American crime writers than I do to Stieg Larsson.
I said from the start I had to be trustful of the Millennium universe. It was not going to be a Stieg Larsson book, but my interpretation of his iconic characters and universe.
The pace of Swedish crime fiction is slower - Stieg Larsson's the exception. And I think we use the environment more.
Lisbeth Salander is one of the most compelling heroines of 21st century crime literature, and I am thrilled to see readers have welcomed her return.
If you have an extreme character, you need normal characters to contrast them. Sherlock Holmes certainly needed a Dr. Watson. And Pippi Longstocking, who supposedly inspired Lisbeth Salander, needed Tommy and Annika, the normal middle-class neighbors.
I write best when I sort of collide myself with another man. So I think, I hope, that a combination of me and Stieg Larsson will create something good.
In many respects I have gone out of my way to avoid the usual approach adopted in crime novels. I have used some techniques that are normally outlawed - the presentation of Mikael Blomkvist, for instance, is based exclusively on the personal case study made by Lisbeth Salander.
I don't know how to write a novel in the world of cellphones. I don't know how to write a novel in the world of Google, in which all factual information is available to all characters. So I have to stand on my head to contrive a plot in which the characters lose their cellphone and are separated from technology.
I'd extend an invitation to Lisbeth Salander. She would definitely shake the party up and get it started. I think she is hands down one of the most original, innovative, kickass female fictional characters ever.
I know I don't want to be Stieg Larsson my whole life.
I find that I am much slower in the beginning of a book. I am thinking of the plot, of the characters and who they are, and where they are going. I often throw out a lot of the writing I start with, because the characters and plot improve as I write. Or perhaps I should say it is my hope they will improve as I write.
When this is all over I'm going to found an association called 'The Knights of the Idiotic Table' and its purpose will be to arrange an annual dinner where we tell stories about Lisbeth Salander. You're all members.
I've made the decision to adhere to three general truths when it comes to my novels: There will be a love-story element to the story, the novel will be set in eastern North Carolina, and the characters will be likeable. Then, I make each novel unique through differences in voice, perspective, age and personalities of the characters, and of course, plot.
Part of the brilliance of Stieg Larsson's books is that they are so complex, so many different facets coming together.
I am not a political writer. I agree with Stieg Larsson and Henning Mankell, who are social writers. I can't write in that fashion. I am not good enough for that. What I am interested in is family dramas and why we are doing bad things to each other and what our motives are.
You have to search for the best writer - I'm not saying I'm the one, but it's a bad idea to just find the person who is a copycat of Stieg Larsson.
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