So, I realized that the market was so small that I had to switch languages, but I didn’t switch until I was in my early thirties. It’s very difficult to get books published, it’s very difficult to sell books, it’s extremely difficult to sell speculative fiction. And I want to be on the shelves in the book shop… in English.” The thing is, Sweden has a very small readership. And I had this revelation that “I wanted to be in here. There was, and still is, this magazine called “Locus,” which is the SFF industry’s main magazine, and I would read that during lunch break. When I was nineteen, I worked in a science-fiction bookshop in Stockholm. Have you always planned on writing for an English-speaking market? It has to move you somehow, and what moves me is possibilities new worlds. To me, it’s the best form of literature because literature needs to do something to you. You can do whatever you want in science You can try new concepts and new ideas, explore alternatives to the world that we live in right now. What do you find most appealing about them? I’ve always written fantasy or science-fiction. Would you say you’ve always been into the fantasy and science-fiction genres? It was an illustrated story called “Two Poor Children.” It’s a comic about two poor children that find gold and live happily ever after. The first thing I wrote I was five-years old.
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