The Hypnotist’s Love Story (2011)

2 Stars · Linda’s Rating
Page Count
446 pages
Release Date
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⚠ Full Spoilers Ahead. This page contains complete plot summaries, the ending, and all major reveals. Turn back if you don’t want to be spoiled.
  • Stalking and obsessive behavior
  • Harassment and unwanted contact
  • Invasion of privacy
  • Trespassing and breaking and entering
  • Grief and bereavement
  • Death of a spouse
  • Cancer and terminal illness
  • Death of a parent
  • Injury and hospitalization
  • Child injury
  • Pregnancy
  • Infertility
  • Miscarriage anxiety
  • Abortion discussions
  • Cesarean section
  • Infidelity and extramarital affairs
  • Secret paternity
  • Threats and intimidation
  • Defamation and reputational harm
  • Police involvement
  • Restraining orders and legal proceedings

Ellen O’Farrell, a 35-year-old hypnotherapist living in Sydney, thinks she has finally found a wonderful boyfriend in Patrick Scott, a widowed land surveyor raising his eight-year-old son, Jack. But on their fourth date, Patrick confesses something alarming: his ex-girlfriend, Saskia Brown, has been stalking him for three years. She follows him everywhere, sends relentless messages, and refuses to accept that their relationship is over.

Ellen is intrigued rather than frightened, partly because she is fascinated by human behavior. What she doesn’t realize is that Saskia has already begun watching her, too. Using the fake name Deborah Vandenberg, Saskia books hypnotherapy appointments with Ellen, complaining of mysterious leg pain. Ellen unknowingly welcomes her boyfriend’s stalker into her home, where she also runs her practice.

As their romance develops, Ellen learns more about Patrick’s past. His first wife, Colleen, died of cancer shortly after giving birth to Jack. Saskia subsequently moved in with Patrick and helped raise Jack, becoming a mother figure to the little boy. When Patrick ended their two-year relationship, Saskia lost not just her boyfriend but the family she had grown to love.

Three months into their relationship, Ellen discovers she is pregnant. Patrick surprises her with a romantic getaway to Noosa, but during the flight, he mentions Saskia’s unexplained leg pain. Ellen suddenly realizes that Deborah is Saskia—and that she has accidentally told Saskia exactly where they are staying.

At a scenic lookout in Noosa, Patrick gets down on one knee to propose. Just as he produces an aquamarine ring, Ellen spots Saskia approaching. She blurts out two revelations at once: she’s pregnant, and his stalker is standing behind him. Despite the interruption, Patrick is delighted about the baby and proposes again. Ellen accepts.

Back in Sydney, Patrick and Jack begin moving into Ellen’s house. Saskia’s behavior grows increasingly disturbing. She secretly enters the home, leaves behind a book Ellen lent her, and even bakes Anzac biscuits in Ellen’s kitchen. She also follows the couple to an ultrasound appointment, watching the new family form without her.

Ellen has other problems, too. A disgruntled client, Rosie, realizes during hypnosis that she doesn’t love her wealthy husband, Ian Roman. When Ian discovers what happened, he threatens to destroy Ellen’s career through the media. Another client, Luisa, accuses Ellen of being a fraud after learning that Ellen is pregnant while Luisa herself struggles with infertility.

The stalking reaches its breaking point one night when Ellen wakes to find Saskia standing at the foot of her bed, holding her ultrasound photographs. Patrick attacks Saskia, and during the struggle, Patrick, Saskia, and Jack tumble down the spiral staircase. Jack breaks his arm badly, while Saskia suffers serious pelvic and ankle fractures.

Despite everything, Ellen visits Saskia in the hospital and uses hypnosis to help her imagine finally closing the door on Patrick and Jack. Patrick pursues legal protection, and Saskia receives a one-year good behavior bond, an Apprehended Violence Order, and mandatory psychiatric treatment.

Ellen’s professional troubles are resolved when Mary-Kate McMasters, a client who happens to be a defamation barrister, helps stop Ian’s threatened smear campaign. Rosie also pressures Ian to leave Ellen alone.

The accident finally prompts Patrick and Jack to discuss Saskia honestly. Jack reveals that he has blamed himself for her disappearance because he lost a lucky marble she gave him. Patrick assures him that the breakup had nothing to do with him. Patrick also reassures Ellen that although he loved Colleen, his relationship with Ellen is a different, deeper love.

Saskia gradually rebuilds her life through therapy, friendships, and a new living arrangement. Her mysterious leg pain disappears. Ellen reconnects with her biological father and gives birth to a daughter, Grace Lily Scott, on Valentine’s Day.

Six months later, Saskia spots Ellen pushing baby Grace through Circular Quay. Rather than approaching her, Saskia simply smiles and walks away, finally leaving Patrick and his family in peace.

The Hypnotist’s Love Story by Liane Moriarty follows Ellen O’Farrell primarily through third-person narration, with occasional first-person chapters from Saskia Brown, the woman stalking Ellen’s new boyfriend. The story unfolds chronologically, with memories and conversations gradually revealing the complicated relationships that brought everyone to this point.

Ellen Falls in Love with a Man Who Has a Stalker

At thirty-five, Ellen O’Farrell has a comfortable life in Sydney. She works as a clinical hypnotherapist from the charming 1970s house she inherited from her grandparents, overlooking the ocean. Her career is satisfying, her friendships are solid, and she enjoys being independent. What she hasn’t managed to find is a lasting romantic relationship.

After several disappointing boyfriends, including Jon, an atheist engineer who subtly looked down on her profession, Ellen begins dating Patrick Scott, a thirty-five-year-old self-employed land surveyor. Patrick is thoughtful, attractive, and a devoted single father. Their connection feels promising almost immediately.

On their fourth date, however, Patrick makes a startling confession. His ex-girlfriend, Saskia Brown, has been stalking him for three years.

He shows Ellen text messages proving that Saskia is watching them inside the restaurant where they’re eating. She follows him, calls at inappropriate hours, sends endless emails and letters, and seems to know his whereabouts constantly. Although she has never physically attacked him, her relentless presence has made his life miserable.

Ellen is understandably surprised, but she doesn’t run away. As a hypnotherapist, she’s fascinated by the strange ways people behave, and part of her is curious about the woman who can’t let Patrick go. She likes Patrick enough to continue seeing him, and they spend their first night together at her house.

What Ellen doesn’t know is that Saskia has already begun investigating her.

Through Saskia’s first-person narration, we learn that she watched Patrick and Ellen leave a movie theater and go to dinner. She knows their relationship has become intimate, and she is consumed by jealousy. Rather than confront Ellen directly, she books an appointment at Ellen’s hypnotherapy practice under the false name Deborah Vandenberg.

Her stated problem is debilitating, unexplained leg pain. Her real purpose is to get close to the woman who has replaced her.

Patrick’s Past and the Family Saskia Lost

As Ellen and Patrick become more serious, he introduces her to his eight-year-old son, Jack Scott, a skinny, energetic little boy. Ellen quickly grows fond of Jack, although becoming involved with a widower and his child brings complications she hasn’t experienced before.

Patrick’s first wife, Colleen Scott, died of cancer shortly after Jack was born. Patrick was devastated, and his grief shaped much of his life afterward.

Saskia entered his life during that difficult period. She eventually moved in with Patrick and helped raise Jack, becoming an important maternal figure. For two years, she shared their home and participated in the everyday routines of family life.

Then Patrick ended their relationship.

For Patrick, the breakup meant leaving a relationship that no longer worked. For Saskia, it meant losing both the man she loved and the little boy she had helped raise. She has never accepted that separation.

Ellen begins meeting the other people in Patrick’s life. His parents, Maureen and George Scott, welcome her, as does his younger brother, Simon. During dinner at the Scotts’ house, Saskia unexpectedly appears at the front door.

Patrick is furious and threatens to call the police. Saskia retreats, but Ellen notices that Maureen and Simon still feel some sympathy for her. Saskia has no family nearby, particularly since her mother’s death, and they remember how much she once meant to Patrick and Jack.

Ellen also introduces Patrick to her own circle, including her mother, Anne O’Farrell, a doctor who raised Ellen alone, and her godmothers, Mel and Phillipa, known as Pip. Her close friend Julia, whose husband left her for a much younger woman, urges Patrick to seek an Apprehended Violence Order against Saskia.

Although Ellen recognizes that Saskia’s behavior is unacceptable, she continues to wonder what makes someone cling so desperately to a relationship.

An Unexpected Pregnancy and a Proposal in Noosa

Only three months into their romance, Ellen realizes her period is late. A pregnancy test confirms that she’s expecting Patrick’s baby.

The news is overwhelming. Their relationship is still new, and Patrick already has a child. Ellen isn’t sure how to tell him, so she keeps the pregnancy to herself while she considers what it will mean for their future.

At work, she continues seeing clients with a wide variety of problems.

Rosie, a bride-to-be trying to stop smoking before marrying wealthy media businessman Ian Roman, makes an uncomfortable discovery during hypnosis: she doesn’t actually want to marry him. Mary-Kate McMasters, a prickly woman with a fear of driving, attends sessions without revealing much about her professional life. Ellen also treats Alfred Boyle, a shy accountant whose public-speaking anxiety traces back to a childhood experience.

And, of course, she continues treating Deborah Vandenberg, unaware that her mysterious client is Saskia.

Hoping to escape the constant stress of being watched, Patrick surprises Ellen with a romantic weekend in Noosa.

During their flight, he casually mentions that Saskia used to experience terrible unexplained leg pain, which interfered with her love of bushwalking.

Ellen immediately recognizes the connection. Her client Deborah has described the same symptoms. The woman she’s been treating is Patrick’s stalker.

Even worse, Ellen remembers casually telling Deborah about the Noosa trip, including where she and Patrick would be staying at the Sheraton.

Saskia now knows exactly where to find them.

Sure enough, Saskia books a last-minute trip to Noosa.

Patrick, unaware of Ellen’s discovery, arranges a beautiful sunset picnic at a scenic lookout. He gets down on one knee and presents Ellen with an aquamarine engagement ring.

But as he proposes, Ellen sees Saskia approaching.

Unable to contain either secret any longer, Ellen blurts out that she’s pregnant and that Saskia is standing right behind him.

Saskia greets them casually before walking away, leaving Patrick stunned.

Once he recovers, Patrick is thrilled about the pregnancy. He proposes again, and Ellen happily accepts. Despite the bizarre interruption, they return to Sydney engaged and expecting a baby.

Moving In Together While Saskia Gets Closer

Patrick and Jack begin moving into Ellen’s house. Cardboard boxes fill the hallway as the three prepare to become a family.

But Saskia is still finding ways into their lives.

Ellen discovers a book she lent Deborah sitting neatly on her hall table beside a pink camellia. The objects prove that Saskia has entered her home without permission.

Soon afterward, Ellen accompanies Patrick and Jack on their regular trip to Katoomba in the Blue Mountains. Every month, they visit Colleen’s grave and spend time with her parents, Frank and Millie.

Ellen had originally planned to meet her biological father, David Greenfield, an orthopedic surgeon she has never known. But when her mother reschedules their lunch, Ellen decides to accompany Patrick and Jack instead.

At the cemetery, Patrick introduces her to Colleen’s headstone. Later, while visiting Frank and Millie, Ellen becomes overwhelmed and bursts into tears. Her pregnancy hormones intensify an already emotional experience as she confronts the lasting presence of Patrick’s deceased wife.

Returning home brings another disturbing discovery: freshly baked Anzac biscuits have been left on her doorstep.

Ellen realizes Saskia didn’t simply leave a gift. She used Ellen’s own kitchen to bake them.

The stalking has moved well beyond unwanted messages and public encounters. Saskia is entering the house where Ellen, Patrick, and Jack sleep.

Saskia also follows the couple to an ultrasound appointment. Watching Ellen and Patrick prepare for their baby, she cries in the waiting room, painfully aware that they are building the family she once imagined sharing with Patrick.

Ellen’s Professional Life Begins Falling Apart

While Ellen deals with Saskia’s increasingly invasive behavior, several of her hypnotherapy clients create problems of their own.

Luisa Bell, who has been seeking help for unexplained infertility, discovers that Ellen is pregnant. Furious that her hypnotherapist is expecting a child while she remains unable to conceive, Luisa accuses Ellen of being a fraud and demands her money back.

Then Ian Roman arrives at Ellen’s practice in a rage.

Rosie, who went through with marrying him, has apparently admitted that hypnosis helped her recognize she didn’t love him. Ian blames Ellen for interfering in his marriage and threatens to use his considerable media influence to destroy her reputation.

Soon, journalist Lisa Hamilton from the Daily News contacts Ellen seeking a response to serious allegations about her practice.

Ellen fears that her professional reputation could be ruined.

There are happier developments among her clients, too. After helping Alfred Boyle explore the childhood roots of his public-speaking anxiety, Ellen notices that he might be compatible with Mary-Kate McMasters. She arranges for them to encounter each other in her waiting room, and a romance begins.

At home, Patrick is becoming increasingly stressed by Saskia’s behavior. Ellen uses hypnosis to help him relax and sleep, but while deeply hypnotized, he begins speaking about Colleen.

He reveals lingering grief and guilt over her death, saying that no relationship could ever compare with what he had with his first wife.

Ellen is deeply unsettled. She knows Patrick loved Colleen, but hearing him express those feelings so directly leaves her wondering whether she will always come second to a woman who died.

Saskia Breaks In and Jack Gets Hurt

The situation reaches its breaking point one night when Ellen wakes from disturbing dreams.

Her bedroom is glowing with an eerie orange light caused by a dust storm. At the foot of the bed stands Saskia, silently holding Ellen’s ultrasound photographs.

Saskia has entered their home yet again, this time coming directly into their bedroom while they sleep.

Patrick wakes and reacts furiously, tackling Saskia. Jack appears in the hallway, screaming in terror as the confrontation turns into a chaotic physical struggle.

As Patrick tries to force Saskia out, the three of them tumble down the spiral staircase.

The consequences are serious.

Jack suffers a badly broken arm. Saskia sustains severe pelvic fractures and a broken ankle. Patrick rushes Jack to the hospital, while paramedics take Saskia for treatment.

Despite everything Saskia has done, Ellen decides to visit her in the hospital.

Rather than confront her with anger, Ellen offers to help her let go. She guides Saskia through a hypnotic visualization in which she imagines closing a door on Patrick and Jack, accepting that their lives are no longer hers to share.

It’s an unexpected encounter between the two women, especially after Saskia’s intrusion has resulted in Jack’s injury.

Patrick, however, is determined to protect his family. He compiles a detailed record of Saskia’s stalking incidents and pursues formal legal action, including trespass charges and an Apprehended Violence Order.

The Family Finally Talks About Its Past

The accident forces Patrick and Jack to confront something they’ve avoided discussing for years.

Jack reveals that when he was five, Saskia gave him a lucky marble. He lost it and secretly believed that Saskia disappeared from their lives because he’d been careless with her gift.

For three years, the little boy has carried the belief that he caused the breakup.

Patrick is heartbroken to learn this. He reassures Jack that Saskia’s departure had nothing to do with the marble and that none of it was his fault.

Ellen and Patrick also need to resolve the doubts raised by his hypnotic confession about Colleen.

During a walk along the beach, Patrick explains that he loved Colleen deeply when they were young, but his love for Ellen is different. He describes it as a more mature, complete love, reassuring her that she isn’t simply replacing his first wife.

Their relationship emerges from the crisis stronger, with both finally able to discuss the complicated past that has been affecting their future.

Ellen’s professional problems are resolved as well.

Mary-Kate McMasters reveals that she is a defamation barrister and offers Ellen her legal expertise free of charge. She confronts Ian Roman and Lisa Hamilton, successfully stopping the threatened newspaper article.

Rosie also takes action against her husband, threatening to expose his own embarrassing secrets to the tabloids if he continues harassing Ellen.

With Ian forced to back down, Ellen’s practice is safe.

Saskia Lets Go and Ellen’s Family Grows

Saskia faces the legal consequences of her actions. At her court hearing, she receives a one-year good behavior bond, an Apprehended Violence Order, and mandatory weekly psychiatric therapy.

Her recovery is gradual.

Working with her psychiatrist, Saskia begins processing the grief and loss that have dominated her life. She takes up knitting, develops genuine friendships with her colleague Lance and his wife, Kate, and moves in with her old friend Tammy.

As her life becomes more stable, the mysterious leg pain that originally brought her to Ellen’s practice disappears completely.

For the first time in years, Saskia is building a life that doesn’t revolve around Patrick and Jack.

Ellen also makes progress in her personal life beyond her relationship with Patrick. She finally meets her biological father, David Greenfield, and the two share a pleasant lunch at an olive festival, beginning a relationship that had been missing throughout her life.

On Valentine’s Day, Ellen gives birth by planned Cesarean section to a healthy daughter, Grace Lily Scott.

Six months later, the family is doing well. Patrick is a loving father, Jack adores his little sister, and Ellen is happily settled into the life she and Patrick have created together.

The story ends with one last encounter that never quite happens.

Walking through Circular Quay, Saskia spots Ellen in the distance, pushing baby Grace in a stroller.

For years, Saskia would have followed, watched, or found some excuse to insert herself into Patrick’s family. This time, she does none of those things.

She smiles quietly to herself, turns away, and disappears into the passing crowd, leaving Ellen and her family undisturbed.

How The Hypnotist’s Love Story Ends

The climax unfolds on a surreal night when Sydney is covered by an apocalyptic orange dust storm. Ellen O’Farrell wakes to discover Saskia Brown standing inside her bedroom, holding Ellen’s ultrasound photographs. Patrick wakes and tackles Saskia, while his eight-year-old son, Jack, watches in terror. The confrontation ends catastrophically when Patrick, Saskia, and Jack tumble down the spiral staircase. Jack badly breaks his arm, while Saskia suffers pelvic fractures and a broken ankle.

The fall becomes the physical breaking point of Saskia’s three-year obsession. Ellen later visits her in the hospital, but instead of confronting her with anger, she recognizes that Saskia has finally reached “rock bottom.” Ellen uses hypnotherapy to help her imagine closing a large wooden door on Patrick and Jack, locking it, and throwing away the key. It is an attempt to give Saskia something she has never been able to create for herself: an ending.

Patrick, meanwhile, finally takes formal action. He compiles his stalking log for police, Saskia is charged with trespassing, and an Apprehended Violence Order is issued against her. Yet Patrick also begins to understand the emotional damage surrounding the breakup. Jack reveals that Saskia once gave him a lucky marble, which he subsequently lost. For three years, he has secretly believed that losing the marble somehow caused Saskia to leave. Patrick reassures him that the breakup had nothing to do with him, finally freeing Jack from a guilt the adults never realized he was carrying.

Several other storylines resolve alongside the central conflict. Mary-Kate McMasters, who turns out to be a defamation barrister, prevents the Daily News from publishing a damaging story about Ellen. Rosie also protects Ellen by threatening her media-magnate husband, Ian Roman, with an embarrassing tabloid story of her own if he continues his vendetta.

Ellen’s mother, Anne, experiences her own version of awakening. After spending thirty-five years romanticizing David Greenfield, Ellen’s biological father, she discovers that actually being with him is far less exciting than remembering him. She ends their relationship, finally relinquishing the fantasy she had preserved for decades.

The epilogue brings the story into much gentler territory. On Valentine’s Day, Ellen gives birth by planned C-section to Grace Lily Scott, a healthy baby girl with Anne’s distinctive violet eyes. Six months later, Patrick has become a calmer, more relaxed father. His insomnia and rage have subsided, Jack adores Grace, and Ellen and Patrick have settled into family life.

Saskia receives a one-year good-behavior bond and undergoes mandatory psychiatric treatment. She moves in with Tammy, takes up knitting, and becomes godmother to her colleague Kate’s baby. Even her unexplained leg pain disappears.

Her final scene provides the novel’s real emotional ending. While walking through Circular Quay, Saskia sees Ellen in the distance pushing baby Grace. She does not approach her. She simply smiles, turns away, and disappears peacefully into the crowd.

What the Ending Means

The ending is ultimately about letting go—not forgetting the past, but refusing to continue living inside it. Nearly every major character has constructed a story about the past and then become trapped by it. Saskia cannot relinquish Patrick and Jack. Patrick remains emotionally shaped by Colleen’s death and his anger toward Saskia. Jack believes a lost marble caused Saskia to abandon him. Anne has spent decades preserving an idealized version of David.

Ellen’s profession makes this especially meaningful. Hypnosis is normally something she deliberately induces, yet the novel suggests that people enter emotional “trances” all the time. They repeat stories about themselves until those stories begin to feel like objective reality. The ending is therefore filled with characters metaphorically waking up.

The orange dust storm and staircase fall mark the violent culmination of that process. Saskia literally hits rock bottom after years of refusing to accept that her relationship is over. The spiral staircase is particularly fitting: her obsession has kept her circling the same emotional point again and again without actually moving forward. The fall finally breaks that cycle.

Ellen’s image of the locked wooden door provides the opposite symbol. Closure does not simply happen to Saskia; she has to choose it. Closing, locking, and abandoning the door represents creating a psychological boundary between the life she once had and the life she still has the opportunity to build.

Jack’s lucky marble shows how differently the same relationship can be experienced by different people. Patrick sees Saskia primarily as the woman who stalked him. Saskia sees herself as someone who lost a partner and a child she loved. Jack sees her disappearance through a child’s logic and concludes that he somehow caused it. His confession exposes one of the novel’s central ideas: people can live beside one another while carrying completely different versions of the same story.

Saskia taking up knitting is a quieter but important symbol. The repetitive energy that once went into following Patrick, monitoring his life, and replaying the past is redirected toward making something. Her disappearing leg pain reinforces the transformation: once she begins releasing the psychological fixation that has kept her emotionally stuck, her body also stops expressing that distress.

Ellen’s response to Saskia is equally important. She does not excuse the stalking—Saskia still faces police action, an AVO, psychiatric treatment, and legal consequences—but Ellen refuses to reduce her to a monster. The ending therefore separates empathy from absolution. Saskia can be responsible for what she has done and still be capable of becoming someone different.

Patrick undergoes a similar change. His willingness to acknowledge his own mistakes in ending his relationship with Saskia does not make him responsible for her subsequent behavior. Instead, it shows him abandoning the rigid anger and need for control that have defined him. His calmer relationship with Ellen, Jack, and Grace suggests that he has finally stopped organizing his present around old grief.

Anne’s breakup with David echoes the same theme in miniature. She discovers that nostalgia can be every bit as deceptive as obsession. The man she has remembered for thirty-five years is more compelling than the real man standing in front of her. Giving him up means choosing reality over fantasy.

And that is why Saskia’s final appearance at Circular Quay matters so much. Earlier, seeing Ellen and Patrick would have drawn her toward them. Now she sees Ellen and Grace and chooses not to enter their story. She smiles and walks away.

There is no dramatic punishment, revenge, or final confrontation. Saskia simply disappears into the crowd as another person with a life of her own.

That quiet choice is her redemption.

The novel therefore ends less like a conventional psychological thriller and more like a compassionate relationship drama: closure comes not from destroying the person who hurt you, but from changing the story you keep telling yourself about them. Grace’s birth completes that idea. Even her name suggests what the ending ultimately offers its characters—grace without pretending that the damage never happened, and the possibility of beginning again.

🔶 Main Characters

Ellen O’Farrell
Ellen O’Farrell — Protagonist & Clinical Hypnotherapist
Role: Primary viewpoint character; a 35-year-old Sydney hypnotherapist who runs her practice from her inherited seaside home.
Personality: Empathetic, introspective, gentle, intuitive, forgiving, open-minded.
Significance: Her relationship with Patrick and unusually compassionate response to his stalker Saskia form the emotional core of the novel.
Patrick Scott
Patrick Scott — Widower & Land Surveyor
Role: Ellen’s boyfriend and eventual fiancé, Jack’s father, Colleen’s widower, and the target of Saskia’s three-year stalking obsession.
Personality: Practical, hardworking, protective, loving, emotionally guarded, quick-tempered.
Significance: His unresolved grief over Colleen and abrupt rejection of Saskia shape much of the novel’s central conflict.
Saskia Brown
Saskia Brown — Patrick’s Ex-Girlfriend & Stalker
Role: Patrick’s ex-girlfriend and secondary first-person narrator who obsessively stalks Patrick, Jack, and eventually Ellen for three years.
Personality: Obsessive, lonely, articulate, creative, delusional, emotionally wounded.
Significance: She creates the novel’s primary tension, secretly infiltrating Ellen’s hypnotherapy practice as “Deborah Vandenberg” and ultimately breaking into Ellen’s home.
Jack Scott
Jack Scott — Patrick’s Son
Role: Patrick and Colleen’s eight-year-old son who becomes Ellen’s stepson and Grace’s older brother.
Personality: Energetic, outspoken, imaginative, observant, vulnerable, affectionate.
Significance: He connects Patrick’s life with Colleen and Saskia to the new family Patrick creates with Ellen.

🔷 Supporting Characters

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Colleen Scott — Patrick’s Deceased Wife
Role: Patrick’s first wife and Jack’s biological mother, who died from cancer.
Personality: Warm, radiant, creative, loving, maternal.
Significance: Her idealized memory and Patrick’s unresolved grief affect Patrick, Jack, Saskia, and Ellen throughout the story.
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Dr. Anne O’Farrell — Ellen’s Mother
Role: Ellen’s GP mother, who deliberately conceived Ellen without telling biological father David Greenfield.
Personality: Confident, elegant, independent, sharp-tongued, pragmatic, vain.
Significance: Her unconventional choices shaped Ellen’s upbringing, while David’s reappearance finally answers Ellen’s lifelong questions about her father.
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Dr. David Greenfield — Ellen’s Biological Father
Role: An orthopedic surgeon who unknowingly fathered Ellen decades earlier.
Personality: Polite, awkward, ordinary, well-meaning, dorky.
Significance: His reappearance allows Ellen to finally establish a relationship with the father she never knew.
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Julia Margaret Robertson — Ellen’s Best Friend
Role: Ellen’s lifelong best friend and former fencing champion, recovering from a painful divorce.
Personality: Attractive, athletic, witty, pragmatic, direct, cynical.
Significance: She serves as Ellen’s sounding board and one of the strongest skeptics of Patrick and the Saskia situation.
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Maureen Scott — Patrick’s Mother
Role: Patrick and Simon’s mother and grandmother to Jack and Grace.
Personality: Warm, nurturing, traditional, Catholic, intrusive, caring.
Significance: She helped care for Jack after Colleen’s death and retains some sympathy for Saskia despite her behavior.
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George Scott — Patrick’s Father
Role: Patrick and Simon’s father and Jack and Grace’s grandfather.
Personality: Jocular, laid-back, warm, playful, corny.
Significance: He provides stability and humor within Patrick’s family and resembles an older version of Patrick.
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Simon Scott — Patrick’s Younger Brother
Role: Patrick’s 24-year-old younger brother and a website designer.
Personality: Trendy, witty, sarcastic, lighthearted, sociable.
Significance: He provides comic family banter and an outside perspective on Patrick and Ellen’s relationship.
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Melanie “Mel” — Ellen’s Godmother
Role: One of Anne’s lifelong best friends and one of the women who helped raise Ellen.
Personality: Elegant, observant, practical, grounded, straightforward.
Significance: She recognizes Anne’s strange behavior when David returns and supports Ellen’s relationship with Patrick.
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Phillipa “Pip” — Ellen’s Godmother
Role: Anne’s other lifelong best friend and another maternal figure in Ellen’s life.
Personality: Bubbly, excitable, giggly, dramatic, romantic.
Significance: She reconnects Anne and David through Facebook, triggering their unexpected reunion.
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Rosie Roman — Ellen’s Client
Role: A bride-to-be who initially seeks hypnosis to stop smoking before marrying wealthy media magnate Ian Roman.
Personality: Insecure, curvy, spunky, impulsive, unexpectedly tough.
Significance: Under hypnosis, she admits she does not love Ian, inadvertently triggering Ian’s attempt to destroy Ellen’s reputation.
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Ian Roman — Media Magnate
Role: Rosie’s wealthy and powerful husband who turns against Ellen after overhearing Rosie’s hypnotic confession.
Personality: Vain, vindictive, arrogant, intimidating, controlling.
Significance: He uses his media influence to launch a smear campaign intended to ruin Ellen’s professional reputation.
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Mary-Kate McMasters — Defamation Barrister & Client
Role: A top defamation barrister who initially comes to Ellen for help with driving and tunnel anxiety.
Personality: Blunt, dour, capable, loyal, formidable.
Significance: She unexpectedly becomes Ellen’s legal savior when Ian Roman attempts to destroy Ellen through the press.
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Alfred Boyle — Accountant & Client
Role: An accounting-firm partner who seeks Ellen’s help for severe public-speaking anxiety.
Personality: Shy, humble, meticulous, gentle, earnest.
Significance: His successful hypnosis demonstrates Ellen’s effectiveness and unexpectedly connects him romantically with Mary-Kate.
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Frank & Millie — Colleen’s Parents
Role: Colleen’s parents and Jack’s maternal grandparents, who live in the Blue Mountains.
Personality: Gentle, grieving, hospitable, affectionate, welcoming.
Significance: Their continuing relationship with Patrick and Jack preserves Colleen’s place within the family after her death.
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Luisa Bell — Infertility Client
Role: A client who seeks Ellen’s help after struggling with unexplained infertility.
Personality: Desperate, grieving, emotional, frustrated, volatile.
Significance: Her anger toward pregnant Ellen forces Ellen to confront the ethical and emotional limits of her work.
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Flynn Halliday — Ellen’s Hypnotherapy Mentor
Role: An elderly, respected hypnotherapist who mentors Ellen professionally.
Personality: Cherubic, formal, conservative, ethical, quietly affectionate.
Significance: He represents the traditional professional standards of hypnotherapy and serves as a counterpoint to Danny’s commercial approach.
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Danny Hogan — Ellen’s Hypnotherapy Mentee
Role: A 24-year-old hypnotherapist whom Ellen mentors.
Personality: Ambitious, brash, entrepreneurial, pushy, pragmatic.
Significance: His commercial “Hypno-parties” create ethical friction between modern marketing and traditional hypnotherapy.
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Madeline — Ellen’s Friend
Role: A pregnant friend who provides Ellen with advice and companionship during her own pregnancy.
Personality: Organized, maternal, sensible, direct, rule-abiding.
Significance: She gives Ellen a more conventional perspective on pregnancy and motherhood.
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Bruce “Stinky” Sam — Patrick’s Friend
Role: Patrick’s longtime friend and land-surveying associate who later dates Julia.
Personality: Laid-back, philosophical, romantic, dimpled, unpretentious.
Significance: He offers one of the more compassionate interpretations of Saskia, arguing that love can become a kind of madness.
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Lisa Hamilton — Daily News Journalist
Role: The journalist assigned to investigate Ellen as part of Ian Roman’s attempted smear campaign.
Personality: Cold, clipped, authoritative, professional.
Significance: Her investigation threatens Ellen’s livelihood until the malicious motive behind the story is exposed.
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Kate — Saskia’s Friend & Coworker
Role: Saskia’s coworker and Lance’s wife, who becomes a genuine friend after Saskia’s hospitalization.
Personality: Blunt, compassionate, unfiltered, quirky, warm.
Significance: She helps Saskia rebuild a normal social life and introduces her to knitting with the mantra “Knit, don’t stalk.”
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Lance — Saskia’s Coworker
Role: Saskia’s town-planning colleague and Kate’s husband.
Personality: Kind, sleepy-eyed, supportive, easygoing.
Significance: He helps demonstrate that Saskia still has people willing to care about her after her obsession with Patrick collapses.
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Tammy — Saskia’s Friend
Role: An old friend who reconnects with Saskia after years of isolation caused by her stalking obsession.
Personality: Bouncy, outgoing, friendly, sociable, energetic.
Significance: She helps Saskia rediscover friendship and ordinary life outside Patrick.
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Jon — Ellen’s Ex-Boyfriend
Role: An engineer Ellen dated before Patrick.
Personality: Intellectual, sarcastic, witty, condescending, arrogant.
Significance: His constant mockery of Ellen’s profession damaged her confidence and illustrates her history of unsatisfying relationships.
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Harriet — Jon’s Sister
Role: Jon’s younger sister who remains in contact with Ellen after their breakup.
Personality: Bossy, brittle, gossipy, meddling, slightly malicious.
Significance: She repeatedly delivers unwanted updates about Jon’s new life that test Ellen’s feelings about her past.
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Andy — Ellen’s Ex-Boyfriend
Role: A very tall banker Ellen dated in her twenties.
Personality: Superficial, polite, distant, conventional.
Significance: He represents one of Ellen’s relationships in which both partners merely performed being in love.
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Edward — Ellen’s Ex-Boyfriend
Role: A sweet high-school teacher who once caused Ellen profound heartbreak.
Personality: Sensitive, loving, gentle, conflict-avoidant.
Significance: Their failed relationship becomes one of Ellen’s formative experiences with romantic loss.
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Great-Aunt Mary & Ellen’s Grandparents — Deceased Relatives
Role: Ellen’s deceased relatives who left her the distinctive retro seaside house where she lives and practices hypnotherapy.
Personality: Eccentric, loving, nostalgic, unconventional.
Significance: Their home provides the novel’s central setting and connects Ellen to her family history.
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Grace Lily Scott — Ellen & Patrick’s Daughter
Role: Ellen and Patrick’s newborn daughter and Jack’s baby sister.
Personality: Adorable, happy, playful, affectionate.
Significance: Her birth symbolizes Patrick and Ellen’s healed, blended family and their shared future.
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Toby — Carpenter & Potential Love Interest
Role: A handsome carpenter and boogie-boarder whom Saskia encounters as she begins rebuilding her life.
Personality: Handsome, outdoorsy, friendly, relaxed.
Significance: He represents the possibility that Saskia can eventually experience a healthy new romance instead of obsessing over Patrick.
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William — Julia’s Ex-Husband
Role: Julia’s former husband, who left her for a much younger woman.
Personality: Superficial, materialistic, upgrade-obsessed, selfish.
Significance: His betrayal causes much of Julia’s cynicism about relationships and men.
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Eddie Masters — Julia’s High School Boyfriend
Role: Julia’s rebellious teenage boyfriend who dumped her for another girl.
Personality: Cool, rebellious, attractive, teenage, carefree.
Significance: His breakup prompted teenage Julia to harass him by telephone, providing a humorous parallel to Saskia’s much more serious stalking.
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Giles — Ellen’s High School Crush
Role: A handsome one-legged boy from a neighboring school whom teenage Ellen adored.
Personality: Handsome, patient, kind, distracted.
Significance: Her attraction to him helps Ellen recognize her lifelong romantic fascination with men she perceives as tragic or wounded, including Patrick.
Security Neglect Despite a Known Stalker

Patrick has been stalked by Saskia for three years and believes she has entered his home, car, and workplace, yet he and Ellen take remarkably few precautions after he moves into Ellen’s house. Most glaringly, Ellen continues keeping a spare key under the stone owl above her door, allowing Saskia to enter repeatedly and eventually appear in their bedroom while they sleep. Given Patrick’s documented fear of Saskia, failing to remove the key, change locks, or improve security is a significant lapse in logic.

Q : How did hearing Saskia’s side of the story affect the way you viewed her? Did understanding her grief and attachment to Jack make you more sympathetic toward her, or did her stalking make it difficult to empathize with her?
A : Saskia’s perspective makes her much more complicated than the “crazy stalker” Patrick initially describes. She has lost her mother, her relationship with Patrick, and the child she helped care for almost all at once. Her grief helps explain why she becomes so fixated on Patrick and Jack, even though it doesn’t excuse her increasingly invasive behavior. Without her chapters, readers would probably see her much more simply as the villain.
Q : How do you think the fact that Saskia is a woman affects the way Patrick’s stalking situation is treated? Would the story feel more frightening if Patrick were a woman being stalked by an ex-boyfriend?
A : Because Saskia is a woman, Ellen initially responds to the stalking with curiosity rather than fear, and Patrick sometimes seems embarrassed about how much it affects him. The people around him don’t always treat Saskia as a serious physical threat. If the genders were reversed, many of the same behaviors—following someone, sending unwanted messages, appearing unexpectedly, and eventually entering their home—would probably feel threatening much earlier in the story.
Q : Hypnosis is an obvious part of Ellen’s professional life, but several characters also seem trapped in emotional patterns of their own. In what ways are Ellen, Patrick, and Saskia each stuck in their own kind of “trance”?
A : Saskia is trapped in the belief that staying connected to Patrick will somehow restore the family she lost. Patrick avoids fully confronting his grief over Colleen and often shuts down emotionally. Ellen is more self-aware, but she can become so fascinated with analyzing people that she overlooks boundaries and her own insecurities. In different ways, all three have to recognize the patterns controlling them before they can move forward.
Q : Ellen sometimes uses hypnosis or hypnotic suggestions on Patrick because she believes she is helping him. Do you think her good intentions justify what she does, or does she cross a line?
A : Ellen’s intentions are generally caring, especially when she wants to help Patrick sleep or relax, but she crosses a boundary when she begins influencing him without clear consent. Patrick’s anger makes sense because he feels she has entered a private part of his mind without permission. Their conflict raises an interesting question about whether something can still be manipulative even when it is done out of love.
Q : How does Patrick’s late wife, Colleen, affect his relationship with Ellen even though she died years earlier? Do you think Patrick is unfair to Ellen when he compares the two women?
A : Colleen becomes almost impossible for Ellen to compete with because death has preserved her in Patrick’s memory. His comments about the things Colleen did well make Ellen wonder whether she will ever measure up. At the same time, Patrick’s idealization of Colleen seems connected to grief rather than a deliberate attempt to hurt Ellen. He eventually has to accept that loving Ellen differently does not mean he loved Colleen any less.
Q : Motherhood and maternal attachment appear in several different forms throughout the novel. How do Ellen, Saskia, Colleen, and Anne show different ideas about what it means to be a mother?
A : The novel presents motherhood as both deeply rewarding and potentially painful. Colleen’s death leaves a permanent absence in Jack’s life, while Saskia becomes emotionally attached to Jack without having any legal claim to him. Anne’s experience raising Ellen independently shapes her strong views about relationships and family. As Ellen prepares to become a mother herself, she begins to understand more fully how powerful those attachments can be.
Q : Patrick had every right to end his relationship with Saskia, but do you think the way he ended it contributed to what happened afterward? Where should we draw the line between understanding his role in Saskia’s pain and holding Saskia responsible for her choices?
A : Patrick ends the relationship shortly after Saskia loses her mother and then abruptly removes both himself and Jack from her life. That helps explain why the breakup is so devastating to her, particularly because she had developed a maternal bond with Jack. But understanding what triggered Saskia’s obsession is different from excusing it. Patrick may have handled the breakup without enough compassion, while Saskia is still responsible for the years of stalking and boundary violations that followed.
Q : Why do you think it takes the frightening accident at Ellen’s house for Saskia finally to begin letting go of Patrick and Jack? Could anything less dramatic have broken the cycle?
A : Until the accident, Saskia can keep convincing herself that her behavior is somehow connected to love rather than harm. Seeing Jack injured during a situation she created destroys that illusion. Her own serious injuries also physically prevent her from continuing her old routine. The accident becomes her “rock bottom” because she can no longer deny what her obsession has cost both herself and the people she claims to love.
Q : Saskia’s unexplained leg pain disappears as she begins recovering emotionally, and she eventually takes up knitting. What do you think these details suggest about her state of mind?
A : Her leg pain can be read as a physical expression of emotional distress, especially because so much of her life revolves around literally following Patrick. Once she begins letting go, that unexplained pain disappears. Knitting gives her repetitive, focused energy somewhere healthier to go: instead of obsessively following an old life, she is creating something new.
Q : The novel deals with stalking, grief, cancer, infertility, and loss, yet it often feels surprisingly funny and warm. Did the lighter tone make the darker parts of the story more effective, or did it sometimes make the danger feel less serious?
A : The humor keeps the novel from becoming overwhelmingly dark and makes the characters feel like ordinary people dealing with extraordinary emotional situations. Ellen’s observations, her family and friends, and some of her hypnotherapy clients provide comic relief between heavier scenes. At the same time, the lightness may deliberately make readers underestimate Saskia’s behavior at first, much as Ellen does, so the eventual break-in feels more unsettling.
Q : By the end of the novel, Ellen responds to Saskia with considerably more compassion than Patrick does. Do you think Ellen’s empathy is admirable, naïve, or somewhere in between?
A : Ellen’s ability to recognize Saskia’s pain is one of her defining qualities, and her professional background makes her naturally interested in understanding why people behave as they do. Her compassion ultimately helps Saskia move forward, but Ellen also takes risks that many people would consider unwise after everything Saskia has done. The novel seems interested in whether empathy can coexist with boundaries rather than suggesting that forgiveness requires pretending the harm never happened.
Q : In the epilogue, Saskia sees Ellen with baby Grace but chooses not to approach her. Why is that small decision such an important ending for Saskia’s story?
A : Earlier, Saskia could never resist inserting herself into Patrick and Ellen’s lives. At the end, she can see their happiness without needing to participate in it, disrupt it, or make herself known. Simply walking away shows that she has finally accepted that their life is separate from hers. It is a quiet ending, but for Saskia, choosing not to make contact may be the clearest evidence that she has truly begun to move on.
2 / 5 Stars · Linda’s Rating

Liane Moriarty gave me such a fantastic setup here that I kept waiting for the story to explode. A woman discovers her new boyfriend has been stalked by his ex for years—only to unknowingly have that very stalker sitting across from her as a hypnotherapy client? I was completely intrigued. Unfortunately, the payoff never came.

The strongest part of the book was Saskia’s perspective. Getting inside her head made her surprisingly sympathetic and added a psychological element I really enjoyed. Moriarty also kept me reading quickly because I genuinely wanted to know where all of this was going. But after more than 400 pages of escalating possibilities, the story ultimately felt far too gentle for me.

I kept expecting a major twist, a shocking revelation, or at least a genuinely suspenseful confrontation. Instead, nearly every potentially explosive storyline resolved in an oddly tidy, reasonable way. I finished the book feeling less shocked than confused that that was it.

There were interesting characters and a clever premise buried in here, but I needed much more payoff. For me, this was a whole lot of buildup leading to a surprisingly small destination.

2 out of 5 stars -- A Stalker, a Hypnotist, and a Whole Lot of Nothing

Adaptation

The Hypnotist’s Love Story was developed as a television adaptation for ABC in 2019, based on Liane Moriarty’s 2011 novel. ABC Studios and Mandeville Television produced the pilot, with Katie Wech writing and executive producing and Francesca Gregorini directing. Heather Graham also served as an executive producer, alongside David Hoberman, Todd Lieberman, and Laurie Zaks, while Moriarty was attached as a producer.

ABC ultimately did not order the pilot to series, so the adaptation remains an unproduced/abandoned television project. There is no completed series or publicly released adaptation to watch.

The proposed series starred Juliet Rylance as Ellen O’Farrell, the hypnotherapist at the center of the story, and Heather Graham as Saskia, the obsessive ex-girlfriend who stalks Ellen’s new boyfriend. The cast also included Jane Seymour as Anne, Adan Canto, and Liza Lapira.

The television premise closely followed the novel’s central setup: Ellen begins a relationship with a single father and learns that his former girlfriend has been stalking him—while remaining unaware that she has already encountered the woman herself.

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📖 Reporting for: The Hypnotist’s Love Story (2011)