Hello, I'm Alan Nafzger the author of The Last Screenwriter.
It's a science fiction novel (and film pitch) about a world where AI supercomputers write and produce all the entertainment. They do this under a state monopoly. All filmmakers, writers, actors and all the professions we associate today with filmmaking are gone. Basically, in 2158 all work by humans is done by computers.
In the dystopian year 2158, the government has a monopolistic hold over all forms of media and entertainment, using AI to produce subpar television content that lacks creativity and soul. Enter the Last Screenwriter (LS), a 25-year-old rebel with a penchant for vintage video games, computers from the 2000s, and a passion for storytelling. LS drafts a groundbreaking script based on a new genre: GAME vs GAME, merging the worlds of Grand Theft Auto and Call of Duty.
LS's journey becomes intertwined with Sandy Olson, an editor from the government's Dept of Entertainment. Sandy, initially drawn to LS's vibrant creativity, begins to fall for him and supports his mission to bring authentic entertainment back to the masses. With the help of MW, a cyberpunk "machine whisperer" seeking redemption, and Peregrine Mason, an underdog lawyer reminiscent of the old TV attorney Perry Mason, LS challenges the state-controlled media in both street battles and legal arenas.
But standing in their way is the Division Chief, a charismatic villain with shades of Bill Clinton, and the Emperoress, a figurehead reminiscent of Queen Elizabeth II, who holds potential sway in the fight for genuine creativity.
The epic saga unfolds as LS, with the support of his diverse team, battles not just for the right to create, but for the very soul of entertainment in a world starved of true artistic expression.
I've taken the liberty of building this site on sites.google.com to illustrate how the Department of Education is organized in my fiction. They say build a universe; okay, happy to do that. I'm a trained political scientist and taught college government for many years. Naturally, I looked a tthe problem from the eye of a political scientist. Yes, there are political scientist who study organizational charts to try to discover the true nature of various bureaucracies.
If you are looking for a complete and total list of all the literatry and film genres, I honestly can't say this is a total list, but it is rather a large list. I was going to include it as an apendex to the novel but it kept growing. It's very possible that a list of all the genres and subgenres and a short explanation might be larger than the novel itself.
So, here we are...
Man vs. Man (variations such as war, rivalry, etc.)
Man vs. Nature (survival, disaster, animal conflict, etc.)
Man vs. Society (revolution, cultural conflict, legal drama, etc.)
Man vs. Self (inner struggles, redemption, addiction, etc.)
Man vs. Technology (AI uprising, cyber warfare, etc.)
Man vs. Supernatural (ghosts, demons, cosmic horror, etc.)
Man vs. Unknown (mysteries, exploration, etc.)
Man vs. Time (time travel, aging, etc.)
Man vs. Environment (ecological issues, post-apocalyptic survival, etc.)
Man vs. Economy/Wealth (economic struggle, class warfare, etc.)
Romance (love stories, romantic comedies, tragic romance, etc.)
Thriller (psychological, crime, spy, etc.)
Science Fiction (space opera, dystopian, cyberpunk, etc.)
Fantasy (epic, dark fantasy, urban fantasy, etc.)
Mystery (whodunit, police procedural, noir, etc.)
Historical (biographical, period pieces, alternate history, etc.)
Horror (supernatural, psychological horror, body horror, etc.)
Adventure (treasure hunt, journey, quest, etc.)
Redemption (stories of forgiveness, atonement, etc.)
Coming of Age (growth, self-discovery, etc.)
Tragedy (stories of downfall, loss, etc.)
Comedy (satire, farce, parody, etc.)
Quest (heroic journeys, spiritual quests, etc.)
Transformation (personal growth, metamorphosis, etc.)
Underdog (stories of unexpected success, triumph over adversity, etc.)
Revenge (vengeance, retaliation, etc.)
Frame Story (a story within a story, multiple interlinked stories, etc.)
Non-linear Narrative (flashbacks, disjointed timelines, etc.)
Ensemble Cast (multiple protagonists, interwoven stories, etc.)
Epistolary (told through letters, diaries, etc.)
In The Last Screenwriter, the Department of Entertainment (DoE) represents the authoritative and monopolistic arm of the government controlling all media and entertainment in the year 2158. Operating under the guise of maintaining public order and ensuring that media aligns with state objectives, the DoE has effectively stifled creativity, innovation, and individual expression in the realm of entertainment.
Here's a more detailed description:
Structure & Operations: The DoE is a vast bureaucracy with a rigid hierarchy, from editors and script reviewers to top-tier executives like the Division Chief. Every piece of content, whether it's a TV show, movie, or game, must pass through layers of review and approval before reaching the public.
Technology & AI: Entirely reliant on AI, the DoE produces generic, lackluster content that might be technically flawless but lacks human touch, creativity, and emotional depth. The AI systems are designed to create content that is predictable and non-controversial, resulting in a monotonous media landscape.
Cultural Impact: Under the DoE's reign, the population has become used to a certain type of entertainment – one that doesn't challenge the status quo or stimulate deeper thought. This has led to widespread complacency, with citizens no longer remembering the passionate creativity that once defined human storytelling.
Sandy Olson's Role: Inside the DoE, there are individuals like Sandy Olson, an editor who, while being part of the system, becomes disillusioned with its rigidness. Sandy's interactions with the Last Screenwriter rekindle her appreciation for genuine creativity and make her question the ethics and practices of the department she works for.
Public Perception: The general public might view the DoE with a mix of reverence and resignation. Some might believe the department's narrative that they're protecting society from disruptive influences, while others, especially those who've experienced or remember the vibrant entertainment of the past, might harbor secret resentments.
Conflict with LS: The DoE perceives the Last Screenwriter's innovative script as a direct threat, not just because of its unique content, but because it challenges the very foundation of their power: control over human creativity. This sets the stage for the primary conflict in the story, as the LS and his allies battle against the institutional might of the DoE.
This backdrop of the DoE's pervasive influence on entertainment and culture forms the primary antagonist force in the The Last Screenwriter, setting up a dramatic and high-stakes battle for the soul of entertainment.