Eddie is clearly following the lead of Christina Lane, whose research posits a great deal of Harrison input on all the scripts for her Hollywood noirs with little to no confirmation from studio documents. Lane discusses story conferences and revised version of screenplays in some detail for her credited contributions to the Hitchcock films that preceded her stints at RKO and Universal, but she doesn't provide corresponding information in her discussions of the films Harrison produced.
Lane's book is marvelous in laying out the arc of Harrison's career in the light of her relations with the more powerful males whose respect for her talents prompted them to elevate her into a "producer-auteur" position, but it's a bit light in documenting the details of her influence on screenplays and the actual filming process. Reading between the lines, she seems to have had more oversight during her RKO years, and less so during her association with Robert Montgomery (which also involved some strange bedfellows politically, a fact that baffled many of her closest friends--including Norman Lloyd, who's quoted as such in the section of Phantom Lady that deals with her post-RIDE THE PINK HORSE projects with Montgomery).
Eddie has certainly gone all in of late in championing women--both the stars (lavish praise for what are good but not revelatory performances from the three actresses in THEY WON'T BELIEVE ME) as well as the behind-the-scenes folks. He's also incessant in his self-praise for including women writers in the NC e-zine, while managing to overlook the fact that the original editor-in-chief had 5-6 women writers producing material for the publication during 2010-2014...