The Most Famous Girl in the World

by Iman Hariri-Kia

(Sourcebooks Landmark, 17 September 2024)

By Anna Roins

It’s been two years since Rose―a first-generation Middle Eastern American, functional trainwreck, and reporter for online journal The Shred―wrote the investigative article that exposed Poppy as a socialite grifter. Normally, one of her articles going viral would be cause for celebration, but the highly publicized trial that followed turned Poppy into the internet’s favorite celebrity. And Rose has been reeling from the aftermath ever since. Although Poppy served her time for defrauding some of the richest, most powerful men in the world, Rose knows this is only the tip of the iceberg for Poppy’s crimes. She just can‘t prove it yet… At least not without the help of a devilishly handsome FBI agent has gone rogue.

As Poppy’s star rises as an influencer and pop-culture icon, Rose quickly descends into a downward spiral of guilt and obsession. Her article created Poppy’s fame, so Rose needs to right her wrong by exposing Poppy for the monster that she is. But it’s not going to be easy taking down the most famous girl in the world. Campy, satirical, and utterly hilarious, The Most Famous Girl in the World is both a scathing indictment of modern celebrity and a thrilling rollercoaster ride of unhinged hijinks that will keep you gasping at every turn of the page. It was named Harper’s Bazaar’s September Book Club Pick and one of the best fall books by Bustle, Cosmopolitan, Katie Couric, The Knot, Authorlink, Canadian Living, and more.

AUTHORLINK: Thank you for your time today, Iman! We are so happy you can join us to discuss THE MOST FAMOUS GIRL IN THE WORLD. Can you tell us a bit about it? And how would you describe it in three words?

HARIRI-KIA: Thank you so much for having me! I’m so excited to be here. THE MOST FAMOUS GIRL IN THE WORLD is a campy satirical thriller about celebrity culture. My novel follows Rose, a first-generation Middle Eastern American reporter and functional trainwreck, as she becomes convinced that the subject of her most viral article, a socialite grifter named Poppy Hastings, is killing off her sources in plain sight. There’s just one problem: No one believes her. Well, with the exception of a mysterious but sexy FBI agent gone rogue. The three words I’d go with are chaotic (for sure), juicy, and insightful.

AUTHORLINK: Brilliant! What inspired the storyline and themes? Was your first draft very different from the final version?

HARIRI-KIA: I was at dinner with friends when the news broke that the then President of the United States had promised to pardon the Tiger King, a reality star who was serving a sentence for attempted murder for hire, by sending a limousine to the prison. My fiancé turned to me and said, “Can you imagine if the most famous person in the world was an actual murderer, and people just didn’t care?” The wheels in my brain immediately started to turn. The concept for THE MOST FAMOUS GIRL IN THE WORLD was born later that day. Since the question that inspired the text was posed, it’s only grown more relevant. Elizabeth Holmes was given a rebrand by The New York Times and a Hulu adaptation. Gypsy Rose Blanchard is a social media influencer with a book on the way. And Anna Delvey, whose flair for the dramatics inspired the character of Poppy, made her Dancing With The Stars debut on the very day my novel was published. More than ever, America seems obsessed with antiheroines and women’s wrongs. But how far would a charming celebrity con have to go to permanently turn public opinion against them? That’s the question at the heart of this campy satire of a story. My final draft shares many similarities with the first, but with one major difference: We really played with format and mixed media, amping up the parts of the book that satirize the true crime and thriller genre, using camp to make it clear to the reader that we are in on the joke so that they can suspend disbelief, lean back, and enjoy the rollercoaster ride.

AUTHORLINK: Yes, you are right that this issue has grown more relevant. The mind boggles, especially with Anna Delvey. When did you first discover you were a writer? What was the first thing you had ever written?

HARIRI-KIA: I’ve been writing ever since I can remember, in one way or another. I have video footage of myself at eight years old, declaring myself a writer of stories, lyrics, and poetry. Growing up as a first-generation Middle Eastern American, I often found myself caught between two different worlds. Not Iranian enough to be fully Middle Eastern, not Western enough to be fully American. I sought solace between the pages of Young Adult Novels and Teen Magazines and learned to come of age. And I resolved to one day become a writer and give back to a community that’s given so much to me. I have no idea what the first thing I ever wrote was (my parents have story books and poems from as young as six years old), but I was first published at 15. The Huffington Post published an op-ed I wrote about my experience with Islamaphobia growing up in a post 9/11 New York. I have been writing professionally ever since.

AUTHORLINK: That is amazing! Off to Google to research your article now. You’ve been a journalist and a writer for many years now. Tell us about your road to success. Other than your debut, ‘A Hundred Other Girls,’ (2022) have you written a novel before?

HARIRI-KIA: I started freelance writing during high school and continued throughout college. When I was at University, I studied Creative Writing and pursued Editorial Internships. My senior thesis was on the nine stages of female puberty, and combined lyrics, prose, and essay.

When I graduated, my first editorial job was at Teen Vogue, at the height of its political awakening. I worked there until the print magazine folded, then became a staff writer at Bustle. I reported into the  Sex & Relationships editor, and fell in love with the universality of the vertical. From there, I went to Elite Daily, where I worked as a  Sex & Dating Editor, until I returned to Bustle to lead its  Sex & Relationships team. Around that time, I was also writing a monthly column for the now defunct Man Repeller. I eventually left Bustle to lead a relaunch of Her Campus for a Gen Z audience, and that’s where I remained until I left my editorial job to pursue writing full- time, a month before my debut novel was Published. The entire time I worked in media, I was freelance writing on the side and working on my novel. ’A Hundred Other Girls’ is the first novel I ever wrote, but I have written five since then, including two projects that I ultimately decided to shelve. My second novel was just published and my third is set to be released next year.

AUTHORLINK: Impressive! How long did it take to find an agent and a publisher? What were some of your challenges along the way?

HARIRI-KIA: The old-fashioned way! I used Query Tracker, Manuscript Wishlist, and Publisher’s Marketplace — not to mention, the Acknowledgements Section! — to research agents, compile a list, then cold email them my query letter. I was lucky enough to receive four offers of representation before I signed with my dream agent. Together, we did one round of revisions on my manuscript and went out to submission. A month later, my editor made an offer, and we’ve been working together ever since. I am so grateful. Right when I finished revising my novel and felt ready to query agents, the world shut down because of COVID-19. I shelved my work because promoting myself felt selfish and I lacked the motivation. But later that summer, when conversations around DEI in the industry began to create waves, I decided to pick it back up again. I realized that, perhaps, I had something important to add to the conversation. That my words had value and could make an impact.

AUTHORLINK: How long did it take you to write THE MOST FAMOUS GIRL…? How long did it take you to edit and review the manuscript until it was perfect? Who is your first reader? Was it more accessible to write than your debut novel, ‘A Hundred Other Girls’ (inspired by your time as an assistant at Teen Vogue) or less?

HARIRI-KIA: I wrote the first draft of THE MOST FAMOUS GIRL over a feverish two month period, shortly after selling my debut, but revising it by myself, and then again with my editor, took another year or two. When I sat down with the draft after going on tour, I kept anticipating what readers’ criticisms of it would be. I ended up with a book for everyone, which is really a book for no one. So I had to undo that damage and really learn to reconnect with and trust my voice. My first reader is my husband, Matthew. He is very honest and helpful, as well as my biggest cheerleader. He mainly reads historical nonfiction and science fiction, so when something resonates with him, I know it’s working. I don’t know about accessible, but I had a lot more fun writing THE MOST FAMOUS GIRL. My debut was the book of my head, but this was the book of my heart. I already wrote the novel I felt I really needed to write, so this felt like the novel I really wanted to write, if that makes sense.

AUTHORLINK: Happy for you! In your opinion, are there more Middle Eastern–American people featured in books, series or films from about four years ago? Or is the tokenism still alive and well? HARIRI-KIA: There are definitely more Middle Eastern American authors being traditionally published, and their Own Voices work has positively impacted the industry. But I do find that a lot of their work still centers identity, whether that’s grappling race, religion, or dysphoria. I also think that, so often, Middle Eastern American protagonists are given hero narratives, and don’t have the opportunity to be messy and complex on page. I am so grateful that Rose is afforded the grace to make many, many, many mistakes — and to learn from them.

AUTHORLINK: We loved what you said here, “I want to remind everyone, at the entry-level and at the top-level, that you’re not your job description, you inherently have value as a person. You’re irreplaceable. You don’t need to sacrifice your ethics for any job, and if you do anything with vulnerability, heart, and intention, your people will find you. Your purpose will find you.” (Her Campus, 9 August 2024). This is not stated enough, especially to graduates. Thank you for your words of wisdom. We’ve all been at that stage in our lives where how we feel we are perceived in the workplace is more critical than our inherent self-worth. Do you think a particular Generation, say, Gen X, felt this more keenly than, say, Gen Z?

HARIRI-KIA: Absolutely not, I think that every generation struggles to find meaning in our every day existence, and for some, that means tying who you are to what you do. Doing the sticky work of separating your job from your self-worth applies to Gen Xers in corporate America and Gen Z content creators. No matter who you are, it can feel like pulling the rug out from under your feet. I think that’s why so many people connected with Noora, the FMC of A HUNDRED OTHER GIRLS — that’s a universal experience.

AUTHORLINK: Thank you. Describe your typical writing day. Where do you sit? Do you have any rituals? How many hours or words do you try and achieve each day?

HARIRI-KIA: Sure, although it changes day to day and week to week! I wake up, do the Wordle, and listen to The Daily while getting ready. I drink two iced coffees with almond creamer, set the bed, put on something comfy, then head to my home office. I usually spend mornings responding to emails and doing general housekeeping. Around lunch, I like to go for a walk, often opting to eat in Fort Greene park. When I come back, that’s when it’s time to really sink into my writing. If I’m drafting, I’ll aim to write 2500-3000 words. Windows open, speaker on, nestled into the couch. I will write for hours. Sometimes, I’ll put my phone in another room so I don’t get distracted. Afterward, I’ll exercise for the endorphins and stress release, shower, put on a cute outfit, and try to touch grass – AKA go out into the real world and interact with people that know nothing about Publishing! And I always read in transit and at night before bed.

AUTHORLINK: Wonderful! Has THE MOST FAMOUS GIRL…been optioned for a film or a series? We understand ‘A Hundred Other Girls,’ has been, which must be super exciting. Can you tell us a bit about how this came about? HARIRI-KIA: I wish I could say more about this! But I’d suggest readers follow my newsletter and Instagram account and keep their eyes peeled for exciting announcements coming soon.

AUTHORLINK: Will do! As far as struggling journalists are concerned, you gave excellent advice in 2023 when you said, “I know that it’s exciting to get someone interested in your work, but do not write a story without signing a statement of work. When you get the statement of work, read it carefully. Don’t be afraid to push back on the fine print. Make sure there’s a kill fee. Make sure there’s something in there that protects your best interests as a writer. I wish I had known that earlier on in my career” (PS 18 Jan 23) Thank you for that! What kind of advice would you offer struggling writers? In particular, novel writers?

HARIRI-KIA: My number one piece of advice to aspiring novelists is finish. That. Draft. Every writer I know gets to a point where they’re no longer excited about their work. When they think there are too many plot holes or character problems to keep going, when they’d rather do literally anything else. Resist the urge to walk away. Do not tinker or edit as you go. Every first draft is messy, and wouldn’t you rather have an imperfect finished manuscript than a single perfect paragraph? You can always fix what bothers you in revisions. Writing is editing!

AUTHORLINK: Great advice! You left your job as Her Campus Media’s deputy editor to focus entirely on your career as a novelist. Was that scary? How was that transition? What are you working on now? HARIRI-KIA: I left my full-time editorial job about a month before I published my first novel, which was a huge leap of faith. But I had gotten to a point where I could no longer give 100% of myself at work, and the team of talented, young writers and editors I managed deserved better. That also means that I wasn’t giving 100% of my attention to promoting my book, and a nagging voice inside my head told me that if I didn’t, I’d always wonder, “what if?” So I took the plunge. The transition was rocky for about six months. It took me a while to develop a schedule, put together a budget, establish regular monthly freelance gigs, and put enough money away in my savings that I wasn’t living paycheck to paycheck. Brands often take 30 to 60 days to pay their freelancers, so I was chasing down invoices like nobody’s business. But now, I have a solid routine and have found a great balance between my fiction writing, my newsletter, and my freelance work. I am very grateful. Right now, I am preparing to publish my third book, which will be out in 2025 (my absolute favorite yet!), working on the proposal for my fourth, and writing my newsletter, Cherry Picked. I’ve been on tour since mid-September, which won’t wrap until mid-November, so I haven’t had the bandwidth to take on any freelance writing assignments. But the moment things slow down, I’ll be back at it.

AUTHORLINK: That sounds ideal! We really enjoyed what you said here too, “What’s so difficult about growing up between cultures is that you feel like your identity is fragmented, and you need to be different versions of yourself with different groups of people. You’re never whole anywhere. It’s an experience that’s specific to diaspora, children of immigrants, or anyone coming from a different cultural background that never fully assimilates. You’re constantly feeling like you’re not giving enough of yourself.” (PS 18 Jan 23) We bet many people could relate! It can hinder, but we believe it is also a great stepping ladder to greater empathy. What are the advantages and disadvantages of growing up between cultures? HARIRI-KIA: As I’ve grown older, I’ve become so grateful for my deep-rooted connections to my cultural heritage. I love that my identity impacts the way I move throughout the world, that it makes me consider social discussions differently, that it helps me connect with other marginalized people. I take great pride in Persian culture, from our hospitality to our boisterous spirit. There’s so much to say here, and I’ve written extensively on the topic, but I definitely feel like a small thread in a much larger tapestry, which is immensely special. But growing up, I definitely struggled to find a place where I properly fit. Belonging is an extraordinary experience, and one I was quite envious of as a child. I yearned to assimilate, to blend into the background, to be just one of the girls — especially if it meant my differences could go unnoticed for a day. This definitely led to a state of isolation. But if I hadn’t entered that place, I never would have discovered my passion for reading and writing. So, in many ways, my path to self-discovery has been linear.

AUTHORLINK: How do you take constructive criticism? Do you take it on the chin or feel a little crushed as some writers do?

HARIRI-KIA: I think all artists secretly fear criticism, not because of the person delivering it or the words themselves, but rather, because it might confirm that quiet voice in our head that’s convinced the jig is up. Imposter Syndrome is an immortal foe that rears its ugly head at the least convenient of times. But I don’t mind constructive criticism, as long as it’s delivered in a way that aims to be helpful, rather than hurtful. “I hated this character” is decidedly unhelpful. Oftentimes, when my agent or editor give me suggestions for my manuscript, I experience an “aha!” moment. Like, yeah. Obviously that’s right and how things should be. Why didn’t I think of that before? This kind of constructive criticism is helpful because writers are so close to their work that they sometimes need to back up in order to see the full picture. Fresh eyes are always welcome.

AUTHORLINK: Too true. For a bit of fun, which three people would you invite to dinner, alive or passed over, and why?

HARIRI-KIA: Judy Blume, Lisi Harrison, and Meg Cabot. The lower, middle, and uppergrade YA authors who shaped my voice as a writer and made me the person that I am today.

AUTHORLINK: To quote you again, we really appreciated what you said here, “I think a lot of people have a lot of guilt and shame around quitting dream jobs and giving up on dreams and breaking up with dreams. But ultimately, there’s so much strength and courage to walk away from something that is no longer serving you” (POPTIZED). How inspiring! Have you ever thought about teaching creative literature?

HARIRI-KIA: I am so flattered! I’ve thought about teaching a creative writing workshop, but whenever I go down that path, I start to second guess myself. Perhaps because I’ve never really taught anything in my life and have no idea where I’d start. But I think about it, yes. I love the idea of connecting with readers who are aspiring writers on a line level. But in truth, I just hope I’d have enough to teach them! I truly believe most writers are sincerely making it up as they go along, faking it till they make it. Even the ones who, like me, who have degrees in journalism and writing.

AUTHORLINK: More inspiring wisdom. Iman, thank you for your time today. We really enjoyed THE MOST FAMOUS GIRL… and wish you every success!

HARIRI-KIA: Thank you so much for taking the time to talk to me! It’s been a true honor and I so appreciate all of your thoughtful questions.

ABOUT THE AUTHOR: Iman is a writer, editor, and author born and based in New York City. A Forbes 30 Under 30 honoree and an award-winning journalist, she covers sex, relationships, identity, and adolescence. Her work has appeared in Vogue, New York Magazine’s The Cut, Harper’s Bazaar, Cosmopolitan, Teen Vogue, and more. Her debut novel, A Hundred Other Girls, was published in July 2022 to critical acclaim. Her sophomore novel, The Most Famous Girl In The World, is out now.