Stieg Larsson

I am not altogether confident of my ability to put my thoughts into words: My texts are usually better after an editor has hacked away at them, and I am used to both editing and being edited. Which is to say that I am not oversensitive in such matters.

I have tried to create main characters who are drastically different from the types who generally appear in crime novels. Mikael Blomkvist, for instance, doesn't have ulcers or booze problems or an anxiety complex. He doesn't listen to operas, nor does he have an oddball hobby such as making model airplanes.

In real life, people are integrated into society. That's what happens in my books as well. Minor characters don't just walk in and spout lines, they interact and have an effect on the events. It's not an isolated universe.

I've read crime fiction all my life. A thing that's bothered me about crime fiction is that it's generally about one or two people, but there's not much about society. I want to get away from that particular pattern: a lead, a supporting role and backdrop characters.

Every year Swedish society produces a new generation of threatened women who can testify to the lack of legal rights and the lukewarm interest shown by the police and other authorities.

I abhor crime novels in which the main character can behave however he or she pleases, or do things that normal people do not do, without those actions having social consequences.

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.