Sarah Rayne began writing in her teens, and after a Convent education, which included writing plays for the Lower Third to perform, embarked on a variety of jobs.

Her first novel was published in 1982, and since then she has written more than 25 books, including eight psychological thrillers which met with considerable acclaim, with Tower of Silence long-listed for the prestigious Theakston’s Crime Novel of the Year.

Her haunted house series, featuring the Oxford don, Michael Flint and the antiques dealer, Nell West, has received high praise from the critics,and the books have been described as ‘eruditely eerie’.

2016 sees the start of a new series of psychological thrillers, focussing on a music researcher, Phineas Fox.The first title in the series is Death Notes.

Sarah’s widely-read fantasy books – the Wolfking quartet, first written and published in the early 1990s – have recently been re-issued in digital format, as have six contemporary horror books originally written under a pseudonym.

Short stories to date are The Unknown Crime, The Forgotten Manuscript, and The Masquerade.

As well as being published in America and Australia, Sarah’s books have been translated into German, Dutch, Russian, and Turkish.

The daughter of an Irish comedy actor, Sarah was for many years active in amateur theatre, and lists among her hobbies theatre, history, music, and old houses. Much of her inspiration comes from the histories and atmospheres of old buildings, a fact that is strongly apparent in many of her settings – Charect House in Property of a Lady, Twygrist Mill in Spider Light, and Mortmain House in A Dark Dividing.Music also influences a number of her plots –the eerie death lament, ‘Thaisa’s Song’ in The Bell Tower, the music hall songs in Ghost Song, and the creation of the scandalous 19th century violinist, Roman Wolf, in Death Notes.

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Sarah Rayne began writing in her teens, and after a Convent education, which included writing plays for the Lower Third to perform, embarked on a variety of jobs.

Her first novel was published in 1982, and since then she has written more than 25 books, including eight psychological thrillers which met with considerable acclaim, with Tower of Silence long-listed for the prestigious Theakston’s Crime Novel of the Year.

Her haunted house series, featuring the Oxford don, Michael Flint and the antiques dealer, Nell West, has receivedhigh praise from critics, and the books have been described as ‘eruditely eerie’.

2016 sees the start of a new series of psychological thrillers, focussing on a music researcher, Phineas Fox.The first title in the series is Death Notes.

Sarah’s famous fantasy books – the Wolfking quartet, first written and published in the early 1990s – have recently been re-issued in digital format, as have six contemporary horror books originally written under a pseudonym.

Short stories to date are The Unknown Crime, The Forgotten Manuscript, and The Masquerade.

As well as being published in America and Australia, Sarah’s books have been translated into German, Dutch, Russian, and Turkish.

The daughter of an Irish comedy actor, Sarah was for many years active in amateur theatre, and lists among her hobbies, theatre, history, music, and old houses. Much of her inspiration comes from the histories and atmospheres of old buildings, a fact that is strongly apparent in many of her settings – Charect House in Property of a Lady, Twygrist Mill in Spider Light, andMortmain House in A Dark Dividing.Music also influences a number of her plots –the eerie death lament, ‘Thaisa’s Song’ in The Bell Tower, the music hall songs in Ghost Song, and the creation of the scandalous 19th century violinist, Roman Wolf, in Death Notes.

 

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The Books

The Articles

TRAVELLING THROUGH FICTION… IT’S NOT WHAT IT USED TO BE

There was a time when a degree of glamour attached itself to a journey – when journeys themselves could provide a writer with a splendidly atmospheric setting.  You could place your characters on a train or a ship and cast them into all manner of perilous, murderous,... read more

LEGALIZING THE PLOT

The legal profession has always been a novelists’ treasure house, and lawyers themselves are a gift to writers of fiction.

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BUILDING THE INSPIRATIONS – AND AVOIDING THE PITFALLS

There’s a marvellous theme running through Benjamin Britten’s opera, Owen Wingrave, which is based on the Henry James’ story.  It’s, ‘Listen to the house.’  It’s something I’ve done for years. By ‘listen’ I don’t mean yomping round the Tower of London and thinking... read more