PAULA HAWKINS worked as a journalist for fifteen years before turning her hand to fiction. Born and brought up in Zimbabwe, Paula moved to London in 1989 and has lived there ever since. Her first thriller, The Girl on the Train, has been a global phenomenon, selling 23 million copies worldwide. Published in over forty languages, it has been a No.1 bestseller around the world and was a No.1 box office hit film starring Emily Blunt.Into the Water, her second stand-alone thriller, has also been a global No.1 bestseller, spending twenty weeks in the Sunday Times hardback fiction Top 10 bestseller list, and six weeks at No.1.

"Really great suspense novel. Kept me up most of the night. The alcoholic narrator is dead perfect." STEPHEN KING "The thriller scene will have to up its game if it's to match Hawkins this year" Observer "A complex and increasingly chilling tale courtesy of a number of first-person narratives that will wrong-foot even the most experienced of crime fiction readers" Irish Times "achieves a sinister poetry ... Hawkins keeps the nastiest twist for last" Financial Times "Hawkins' masterful deployment of unwittingly unreliable narration to evoke the aftershocks of abuse and trauma is a powerful way of exploring women's marginalization" Huffington Post

PAULA HAWKINS worked as a journalist for fifteen years before turning her hand to fiction. Born and brought up in Zimbabwe, Paula moved to London in 1989 and has lived there ever since. Her first thriller, The Girl on the Train, has been a global phenomenon, selling 23 million copies worldwide. Published in over forty languages, it has been a No.1 bestseller around the world and was a No.1 box office hit film starring Emily Blunt.Into the Water, her second stand-alone thriller, has also been a global No.1 bestseller, spending twenty weeks in the Sunday Times hardback fiction Top 10 bestseller list, and six weeks at No.1.

"Really great suspense novel. Kept me up most of the night. The alcoholic narrator is dead perfect." STEPHEN KING "The thriller scene will have to up its game if it's to match Hawkins this year" Observer "A complex and increasingly chilling tale courtesy of a number of first-person narratives that will wrong-foot even the most experienced of crime fiction readers" Irish Times "achieves a sinister poetry ... Hawkins keeps the nastiest twist for last" Financial Times "Hawkins' masterful deployment of unwittingly unreliable narration to evoke the aftershocks of abuse and trauma is a powerful way of exploring women's marginalization" Huffington Post