"Stieg Larsson's death was good PR -- hopefully I won't follow him in that storyline"

An interview with the Danish thriller author Jussie Adler-Olsen.

The success of Stieg Larsson's books has showed publishers the potential of Scandinavian thrillers -- and so British audiences are now getting the chance to read books which otherwise might never have made it over here.

One of the new crop is Jussi Adler-Olsen, a Danish thriller writer with an appetite for power struggles and suspense. I spoke to Adler about Mercy, the first in his five-part detective series Department Q, on life growing up in a mental institution, and why he can't be compared with Larsson.

Why have British readers developed such an appetite for Scandinavian fiction?

British readers needed to read something new. In the UK, for quite a period, people were writing more or less the same stuff. I'm talking thrillers or crime stories. We are storytellers in Scandinavia, though I'm not writing as a Scandinavian, that's not my purpose. I'm not influenced by other Scandinavian authors.

How helpful is the inevitable comparison to Stieg Larsson?

Stieg Larsson was a special person. It was a good story: he died in the middle of everything and that's good PR -- hopefully I will not follow him in that storyline. But try to imagine if Larsson had been published 15 years ago and then I came along. No one would compare us.

Perhaps they'd compare Larsson to a couple of older crime writers, like Sjöwall and Wahlöö, who are the mother and father of crime fiction in Scandinavia. They taught us how to combine social elements, politics, real literature and fantastic dialogue.

I think the good thing about some of the best Scandinavian writers is they need to take care of every element of storytelling: plots are important, as is writing well, writing for every page and creating characters the reader can access. But they are not good at creating empathy.

Many writers in Scandinavia aren't using points of view, and I am. You're in the head of [my character] Carl, and the next you're in the head of Merete, and perhaps you're in the head of Lasse.

Which key themes arise in Mercy?

One of my important themes is the misuse of power. You see it so often, here and there. Could you connect it to a story where there's a trauma and you are challenging what people are afraid of? I was a publisher before, and an editor. I read hundreds and hundreds of manuscripts that I had to throw away because they didn't respect the reader, that he or she very often had read more than the author.

You have to do your best to invent new and better locations. Perhaps this was the case in Mercy; having a location that was never seen before and stretching the story without losing the reader. That's difficult.

Your father was a psychiatric doctor and you grew up in hospitals around patients. How much did you draw on your personal experience of insanity and confinement in Mercy?

It's influenced me throughout my whole life. I learned a lot from the patients during that period. I was quite close to them, like the other children in the hospital. There were a few of us, we played football, we were normal children, but we felt pity for the patients. Sometimes they were very depressed and of course it was hard for them to see normal families so close to them.

In 1955, when I was five years old, the doctors brought in psychopharmaca [anti-depressant and anti-psychotic drugs] - you should have seen the screening cages before that point. The women and the men they were almost naked because the nurses were afraid they would kill each other with their stockings.

But we didn't fear them, even when they spat at us. We feared the doctors because they had the power, and some misused it. With psychopharmaca, suddenly patients could walk around freely and we could be close to them. I met a patient, [Mr X]. He was a "nice little killer", my father said.

Mr X was kind of a weak person and he had a big, big wife and they always fought but one day it was too much for him and -- wham -- he killed her. So he was in a mental hospital and the drugs made him very nice and easygoing. I liked him tremendously.

I could see the good and evil in him, and in the other mental patients: very often their actions were an explosion from normality into total insanity. It's a very interesting phenomenon, which I use a lot in my books.

How significant is the notion of confinement in your work?

I wrote Mercy before news came of [Josef] Fritzl in Amstetten and Natascha Kampusch. And reviewers in Demark said: "Oh come on, how can a woman be kept in a place like that for so many years?"

It was very good public relations for me when Natascha Kampusch escaped. My research about women in the case was based on the notion of what would happen if it was a man sitting there instead? A man couldn't live with not knowing why he'd been confined and why he couldn't react to it. He would commit suicide after a few years.

What are your writing methods?

Normally I have a lot of stories to tell. I think I have maybe 20 synopses now that could be made into books. Every time I find a good, original story, I take three weeks off and I write it down like a synopsis and then put it away. When choosing the case [for the Department Q series], I research every little thing for several months. Then comes the stage where I write the book. I have five months in which to do it, which is a very short time so I have to be focused. I have never felt writer's block. It doesn't exist in my world because I stay at the desk until I've finished what I intended. It could take 15 hours and some days you're not in the mood. I never finish the last sentence, I always leave half a page to the next day. Then you can sit down and finish the chapter and before you know it you are running onto the next.

Every time I write a book I go to a monastery in Denmark where there are writers. I sit there in a small room and each evening we meet and read the raw text out loud. It's terrible. I use the old WordPerfect text system because I don't have to use a mouse. You move your hand away from the keyboard, even for one tenth of a second, and you've lost your focus.

Mercy by Jussi Adler-Olsen is out now.

Screenshot of Black Mirror's Fifteen Million Merits.
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How likely are the plots of each Black Mirror episode to happen?

As the third series is on its way, how realistic is each instalment so far of the techno-dystopian drama? We rate the plausibility of every episode.

What if horses could vote? What if wars were fought using Snapchat? What if eggs were cyber?

Just some of the questions that presumably won’t be answered in the new series of Charlie Brooker’s dystopian anthology series Black Mirror, somewhere between The Twilight Zone with an app and The Thick Of It on acid.

A typical instalment takes an aspect of modern technology, politics, or life in general and pushes it a few steps into the future – but just how plausible has each episode been so far?

Series 1 (2011)

Episode 1: The National Anthem

Premise: A member of the Royal Family is kidnapped and will only be released unharmed if the Prime Minister agrees to have sexual intercourse with a pig on live television.

Instead of predicting the future, Black Mirror’s first episode unwittingly managed to foreshadow an allegation about the past: Charlie Brooker says at the time he was unaware of the story surrounding David Cameron and a pig-based activity that occurred at Oxford university. But there’s absolutely no evidence that the Cameron story is true, and real political kidnappings tend to have rather more prosaic goals. On the other hand, it’s hard to say that something akin to the events portrayed could NEVER happen.

Plausibility rating: 2 out of 5

Episode 2: Fifteen Million Merits

Premise: Sometime in the future, most of the population is forced to earn money by pedalling bikes to generate electricity, while constantly surrounded by unskippable adverts. The only hope of escape is winning an X-Factor-style game show.

In 2012, a Brazilian prison announced an innovative method of combating overcrowding. Prisoners were given the option to spend some of their time on electricity-producing bikes; for every 16 hours they spent on the bike, a day would be knocked off their sentence.

The first step to bicycle-dystopia? Probably not. The amount of electricity a human body can produce through pedalling (or any other way, for that matter) is pretty negligible, especially when you take account of the cost of the food you’d have to eat to have enough energy to pedal all day. Maybe the bike thing is a sort of metaphor. Who can say?

Plausibility rating: 0 out of 5

Episode 3: The Entire History of You

Premise: Everyone has a device implanted in their heads that records everything that happens to them and allows them to replay those recordings at will.

Google Glasses with a built-in camera didn’t work out, because no one wanted to walk around looking like a creepy berk. But the less visibly creepy version is coming; Samsung patented “smart” contact lenses with a built-in camera earlier this year.

And there are already social networks and even specialised apps that are packaging up slices of our online past and yelling them at us regardless of whether we even want them: Four years ago you took this video of a duck! Remember when you became Facebook friends with that guy from your old work who got fired for stealing paper? Look at this photo of the very last time you experienced true happiness!

Plausibility rating: 5 out of 5

Series 2 (2013)

Episode 1: Be Right Back

Premise: A new service is created that enables an artificial “resurrection” of the dead via their social media posts and email. You can even connect it to a robot, which you can then kiss.

Last year, Eugenia Kuyda, an AI entrepreneur, was grieving for her best friend and hit upon the idea of feeding his old text messages into one of her company’s neural network-based chat bots, so that she and others could, in a way, continue to talk to him. Reaction to this was, unsurprisingly, mixed – this very episode was cited by those who were disturbed by the tribute. Even the robot bit might not be that far off, if that bloke who made the creepy Scarlett Johansson android has anything to say about it.

Plausibility rating: 4 out of 5

Episode 2: White Bear

Premise: A combination of mind-wiping technology and an elaborately staged series of fake events are used to punish criminals by repeatedly giving them an experience that will make them feel like their own victims did.

There is some evidence that it could be possible to selectively erase memories using a combination of drugs and other therapies, but would this ever be used as part of a bizarre criminal punishment? Well, this kind of “fit the crime” penalty is not totally unheard of – judges in America have been to known to force slum landlords to live in their own rental properties, for example. But, as presented here, it seems a bit elaborate and expensive to work at any kind of scale.

Plausibility rating: 1 out of 5

Episode 3: The Waldo Moment

Premise: A cartoon bear stands as an MP.

This just couldn’t happen, without major and deeply unlikely changes to UK election law. Possibly the closest literal parallel in the UK was when Hartlepool FC’s mascot H'Angus the Monkey stood for, and was elected, mayor – although the bloke inside, Stuart Drummond, ran under his own name and immediately disassociated himself from the H’Angus brand to become a serious and fairly popular mayor.

There are no other parallels with grotesque politicians who may as well be cartoon characters getting close to high political office. None.

Plausibility rating: 0 out of 5

Christmas special (2015)

Episode: White Christmas

Premise 1: Everyone has a device implanted in their eyes that gives them constant internet access. One application of this is to secretly get live dating/pick-up artistry advice.

As with “The Entire History of You”, there’s nothing particularly unfeasible about the underlying technology here. There’s already an app called Relationup that offers live chat with “relationship advisers” who can help you get through a date; another called Jyst claims to have solved the problem by allowing users to get romantic advice from a community of anonymous users. Or you could, you know, just smile and ask them about themselves.

Plausibility rating: 4 out of 5

Premise 2: Human personalities can be copied into electronic devices. These copies then have their spirits crushed and are forced to become the ultimate personalised version of Siri, running your life to your exact tastes.

The Blue Brain Project research group last year announced they’d modelled a small bit of rat brain as a stepping stone to a full simulation of the human brain, so, we’re getting there.

But even if it is theoretically possible, using an entire human personality to make sure your toast is always the right shade of brown seems like overkill. What about the risk of leaving your life in the hands of a severely traumatised version of yourself? What if that bathwater at “just the right” temperature turns out to be scalding hot because the digital you didn’t crack in quite the right way?

Plausibility rating: 1 out of 5

Premise 3: There’s a real-life equivalent of a social media block: once blocked, you can’t see or hear the person who has blocked you. This can also be used as a criminal punishment and people classed as sex offenders are automatically blocked by everyone.

Again, the technology involved is not outrageous. But even if you have not worried about the direct effect of such a powerful form of social isolation on the mental health of criminals, letting them wander around freely in this state is likely to have fairly unfortunate consequences, sooner or later. It’s almost as if it’s just a powerful image to end a TV drama on, rather than a feasible policy suggestion.

Plausibility rating: 2 out of 5

Series 3 of Black Mirror is out on Friday 21 October on Netflix.