In Sweden, we've moved away from the notion that mothers have some magical, special bond with children.

I've always viewed myself as a brand. When I started 10 years ago, that was very controversial. 'Marketing' and 'PR' were dirty words for the literary world, but that has changed. Once the book is finished, I want as many people as possible to read it.

One of the things I'm really good at is procrastinating.

I don't feel the need to prove myself by writing the next generational novel.

People in Sweden talk a lot about the weather - how much we hate it. But Finns get more depressed.

Scandinavian crime fiction has become a great success all across the world and rightfully so. Sjowall and Wahloo ushered in a whole generation of Swedish crime writers, many of whom are now available in English.

Crime stories are our version of sitting round a camp fire and telling tales. We enjoy being scared under safe circumstances. That's why there's no tradition of crime writing in countries that have wars.

Northern Sweden holds a special kind of magic. It's cold, lonely, and the people are tough and silent, or so the stereotype says. This is Asa Larsson's home turf and I find as much joy in reading her closely observed descriptions of the environment, as in following her intriguing plots.

The pace of Swedish crime fiction is slower - Stieg Larsson's the exception. And I think we use the environment more.