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Rachel Miner wanted to be an actress from age two. She began working with an acting coach at eight, got an agent at nine and, by ten, had not only worked for Woody Allen, but was cast as "Michelle Bauer" on Guiding Light (1952) (a part that started as recurring and evolved into a contract role lasting nearly five years (1990-1995) and earning her three Young Artist Awards and an Emmy nomination).

Born into a show business family, she represents the third generation of Miners to take to the theatre, film and television. Her father, Peter Miner, was an Emmy-winning director and noted New York acting teacher (at T. Schreiber Studio), directing teacher (at Columbia University) and acting coach. Her mother, Diane Miner Diane Miner, a writer and off-off-Broadway director, taught and coached acting with her husband. Her grandparents were producer/director Worthington Miner and actress Frances Fuller. Her brother is actor Peter Miner.

Rachel has played roles, ranging from addicts, prostitutes, murderers and murder victims to innocent brides or understanding veterinary techs in dozens of films and television series, with recurring roles as an ambitious, amoral secretary (in Showtime's Californication (2007) and a kick-ass demon (in the CW's Supernatural (2005). Whether terrorized by a psychopath or playing one, there seems little that daunts this fearless young actress.

In addition to her film and television work, Rachel has several noteworthy theatrical credits. At fourteen, she appeared in Laura Cahill's "The Way at Naked Angels" (1994). She made her Broadway debut at seventeen, playing "Margo Frank" to Natalie Portman's "Anne" in Wendy Kesselman's adaptation of "The Diary of Anne Frank" (1996/97), directed by James Lapine. She originated the role of "Rivkele" in Donald Margulies' adaptation of Sholom Asch's "God of Vengeance" (2000), directed by Gordon Edelstein at ACT (A Contemporary Theatre) in Seattle. She also originated the role of "Sandy" in Rebecca Gilman's "Blue Surge" (2001), directed by Robert Falls at The Goodman Theatre in Chicago (and reprised in 2002 at The Public Theatre in New York).

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