The Hulu series based on Harris’s debut novel takes an unflinching look at corporate workplace politics, but with a few key differences from its source material.
, weaving an eerie, sci-fi element into the narrative was Harris’s intention from the beginning: “I love all those kinds of stories that feel very grounded in reality but are also very much not.”—Hulu landed the television rights to the story, which would bring Harris into the writer’s room. As a first timer, she would be guided by the experience of TV vet and fellow executive producer Rashida Jones, who Harris describes as “so down-to-earth and open.
I knew how publishing worked, and I know how hard it is to get to where I'm sitting with you right now. I still don't believe it. When I was working in publishing, I was also freelancing, ghostwriting, and really desperate to write myself out of living paycheck to paycheck and into a space where I really enjoyed what I was doing.
The character Nella isn’t totally a stand-in for you, but she does draw from your experiences. Did it feel a little vulnerable to have her picked apart during scripting? Definitely. I mean, the writers were wonderful. We had a lot of time to talk about our experiences before we got into the actual writing, about being “the only one” or being the “other” in certain situations. But it was still hard. There were conversations about Nella like, “What's her deal? What's her problem? What’s she stuck on?” and her motivations for letting Hazel back in, or letting Hazel get to her.
And then, of course, the ending. I love the ending of the book. I wouldn't change it even though a lot of people, I think, want me to. But I also love this idea of keeping it open for Nella and a potential season two. She's gone through all of this and now maybe she gets a chance to make a change. At least we know that she hasn't given up yet.
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