Ina Fried, formerly Ian Fried, is an American journalist and senior editor for All Things Digital, where she authors the blog Mobilized. Prior to that, she was a senior staff writer for CNET Network's News.com. She is a frequent commenter on technology news on National Public Radio, local television news and for other print and broadcast outlets.

Fried is a personal technology writer and generally covered Microsoft related stories in the CNET blog "Beyond Binary" from 2000 to November 2010, and is currently writing for All Things Digital where she will cover the Mobile beat. Before joining CNET in 2000, Ina wrote for the Orange County Business Journal, the Orange County Register, and Bridge News. She has served as a board member, national secretary and national vice president for the National Lesbian and Gay Journalists Association (NLGJA). On April 27, 2011, Ina scored an exclusive interview with CEO Steve Jobs and other Apple executives about the iPhone location tracking controversy.

Upon retirement from the NLGJA National Board at the 2008 NLGJA national convention in Washington, DC, Fried was honored with both a Distinguished Service Award and a Women's Distinguished Service Award.

Ian Fried is an American screenwriter. He studied filmmaking at the USC School of Cinematic Arts.

Fried was born in Omaha, Nebraska.

Shortly after graduating from the USC School of Cinematic Arts, Fried's first screenplay, a fairy tale mash-up entitled The Ever After Murders was featured on Franklin Leonard's compendium of 2010's best unproduced screenplays, the Black List.

In late 2011, Fried's second screenplay Gaslight was also featured on the Black List. During the same month, Fried was featured on The Tracking Board's "best unproduced screenplay" roster, The Hit List. Shortly thereafter, Fried sold his first feature film pitch Spectral which was picked up by Legendary Pictures where it is currently in development for a tentative 2014 release.

Following the surprise success of its horror movie The Woman in Black (2012 film), Exclusive Media’s genre arm Hammer Films purchased Fried's Gothic Horror Thriller, Gaslight. In Gaslight, Jack the Ripper, secretly imprisoned in a London insane asylum, is called upon to help Scotland yard solve a series if murders that share the iconic death brand: dual puncture wounds to the neck.

Molly Crabapple (born September 13, 1983) is an American artist, author and entrepreneur.

The AP Wire once compared her work to "limerick shared amongst good company in a Victorian parlor." Comics Creator behind Straw House (First Second Books, 2013) and Puppet Makers (DC Comics, 2011) Creator of Dr Sketchy's Anti-Art School, a worldwide movement of alt.drawing salons in over 120 cities.

Molly Crabapple was born Jennifer Caban in Far Rockaway, New York. She received an Associate's degree after majoring in Illustration at Fashion Institute of Technology (A.A.S. Illustration)^{[citation needed]}

From her auto-didactical beginnings in a Parisian bookstore—where she cultivated her signature aesthetic by copying pages from A Tart’s Progress—Molly sketched her way through Morocco and Kurdistan.

Spurred by a desire to de-sterilize the buttoned-up art school scene, Molly founded Dr Sketchy's Anti-Art School, a celebratory mash-up of cabaret and live drawing. Now in its 6th year—with branches in over a hundred cities—Dr. Sketchy’s global trajectory continues to accelerate. Molly’s brand of off-grid entrepreneurship caught the attention of major media outlets, securing cover stories and featured profiles in The New York Times, The Los Angeles Times, The New York Post, Playboy, AP Wire, NPR, and hundreds of other media outlets around the world.

Martin Louis Amis (25 August 1949) is a British novelist, the author of several of Britain's best-known novels, including Money (1984) and London Fields (1989). He was the Professor of Creative Writing at the Centre for New Writing at the University of Manchester until 2011.The Times named him in 2008 as one of the 50 greatest British writers since 1945.

Amis's raw material is what he sees as the absurdity of the postmodern condition and the excesses of late-capitalist Western society with its grotesque caricatures. He has thus been portrayed as the undisputed master of what The New York Times called "the new unpleasantness." Influenced by Saul Bellow, Vladimir Nabokov, and James Joyce, as well as by his father Kingsley Amis, he has inspired a generation of writers with his distinctive style, including Will Self and Zadie Smith. The Guardian writes that his critics have noted what Kingsley Amis called a "terrible compulsive vividness in his style ... that constant demonstrating of his command of English," and that the "Amis-ness of Amis will be recognisable in any piece before he reaches his first full stop."

Julian Patrick Barnes (born 19 January 1946) is a contemporary English writer. Winner of the 2011 Man Booker Prize, for his book The Sense of an Ending, three of his earlier books had been shortlisted for the Booker Prize: Flaubert's Parrot (1984), England, England (1998), and Arthur & George (2005). He has also written crime fiction under the pseudonym Dan Kavanagh (his late wife's surname).

Barnes is one of the best-loved English writers in France, where he has won several literary prizes, including the Prix Médicis for Flaubert's Parrot and the Prix Femina for Talking It Over. He is an officer of L'Ordre des Arts et des Lettres.

Barnes was born in Leicester although his family moved to the outer suburbs of London six weeks afterwards. Both of his parents were teachers of French. He has said that his support for Leicester City Football Club was, aged four or five, "a sentimental way of hanging on" to his home city. He was educated at the City of London School from 1957 to 1964. At the age of 10, Barnes was told by his mother that he had "too much imagination". As an adolescent he lived in Northwood, Middlesex, the 'Metroland' of which he named his first novel. He then went on to Magdalen College, Oxford, where he studied Modern Languages. After graduation, he worked as a lexicographer for the Oxford English Dictionary supplement for three years. He then worked as a reviewer and literary editor for the New Statesman and the New Review. During his time at the New Statesman, Barnes suffered from debilitating shyness, saying: "When there were weekly meetings I would be paralysed into silence, and was thought of as the mute member of staff". From 1979 to 1986 he worked as a television critic, first for the New Statesman and then for The Observer.