The pace of Swedish crime fiction is slower - Stieg Larsson's the exception. And I think we use the environment more.
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 think the power of Stieg Larsson's stories is that he has the guts to show the hidden spots in the side of Sweden. That gave us a push to say that for the first time. That they can't have with the American version.
I know a lot of crime writers feel very underrated, like they're not taken seriously, and they want to be just thought of as writers rather than ghettoised as crime writers, but I love being thought of firmly as a crime writer.
I know I don't want to be Stieg Larsson my whole life.
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.
My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.
Part of the brilliance of Stieg Larsson's books is that they are so complex, so many different facets coming together.
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.
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.
I think Stieg Larsson was pretty brave. He wanted to bring up things that we don't like to talk about, or like to ignore.
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.
Political corruption is endemic all over this country, in some places worse than others, right? On crime, you have all the major American cities where the crime rates at different points in their histories, have spiked dramatically.
I'm definitely more influenced by European writers than I am by American writers, there's no doubt about that.
What crime writers are doing connects deeper into a cultural hunger. Crime is important. When you open up a book that has a body that's dead, that matters. It matters more than a certain level of suburban angst; it really does.
What Stieg Larsson was up to - it was the Swedish guilt over World War II. All of our neighbors had the most terrible experiences with the bad forces, but Sweden didn't. I think we use the thrillers in a different way. We never write a thriller like 'Who is the murderer?' The big question in most of our thrillers is... 'Why?'