I have to agree with Sknox. The hack essentially, presumably, is a plot device for wider events.
Funnily enough I've just finished a novel in which one of the main characters is a hacker in a small cyber terror collective, and for me the critical thing was to convey that the character knew their onions when it came to the hacking, but not put too much focus on the act of hacking itself. That is, you can play up the stakes of the hacking, or what might happen if the hack goes wrong, but don't detail the hack itself; instead show its consequences.
I did make one exception, where a hack is successfully repelled by a booby trapped defence mechanism disguised as a gap in the target's code, where I included a few lines of pseudo-code because I was showing things from her (the hacker's) perspective, and she was seeing. So the drama from the scene is about the decision she has to make (whether to pull the plug or not - there are consequences either way) in the face of something she's not seen before, and her reactions to it. I don't think you can wring drama out of the basic act of hacking itself, which is essentially somebody hitting "Execute" and sitting back. We're allowed a certain amount of licence in fiction
