A Whitewashed Earthsea: How the Sci Fi Channel wrecked my books (by Ursula Le Guin)

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From http://slate.msn.com/id/2111107/

A Whitewashed Earthsea
How the Sci Fi Channel wrecked my books
By Ursula K. Le Guin
Posted Thursday, Dec. 16, 2004, at 6:14 AM PT

On Tuesday night, the Sci Fi Channel aired its final installment of Legend of Earthsea, the miniseries based—loosely, as it turns out—on my Earthsea books. The books, A Wizard of Earthsea and The Tombs of Atuan, which were published more than 30 years ago, are about two young people finding out what their power, their freedom, and their responsibilities are. I don't know what the film is about. It's full of scenes from the story, arranged differently, in an entirely different plot, so that they make no sense. My protagonist is Ged, a boy with red-brown skin. In the film, he's a petulant white kid. Readers who've been wondering why I "let them change the story" may find some answers here.

When I sold the rights to Earthsea a few years ago, my contract gave me the standard status of "consultant"—which means whatever the producers want it to mean, almost always little or nothing. My agency could not improve this clause. But the purchasers talked as though they genuinely meant to respect the books and to ask for my input when planning the film. They said they had already secured Philippa Boyens (who co-wrote the scripts for The Lord of the Rings) as principal script writer. The script was, to me, all-important, so Boyens' presence was the key factor in my decision to sell this group the option to the film rights.

Months went by. By the time the producers got backing from the Sci Fi Channel for a miniseries—and another producer, Robert Halmi Sr., had come aboard—they had lost Boyens. That was a blow. But I had just seen Halmi's miniseries DreamKeeper, which had a stunning Native American cast, and I hoped that Halmi might include some of those great actors in Earthsea.

At this point, things began to move very fast. Early on, the filmmakers contacted me in a friendly fashion, and I responded in kind; I asked if they'd like to have a list of name pronunciations; and I said that although I knew that a film must differ greatly from a book, I hoped they were making no unnecessary changes in the plot or to the characters—a dangerous thing to do, since the books have been known to millions of people for decades. They replied that the TV audience is much larger, and entirely different, and would be unlikely to care about changes to the books' story and characters.

They then sent me several versions of the script—and told me that shooting had already begun. I had been cut out of the process. And just as quickly, race, which had been a crucial element, had been cut out of my stories. In the miniseries, Danny Glover is the only man of color among the main characters (although there are a few others among the spear-carriers). A far cry from the Earthsea I envisioned. When I looked over the script, I realized the producers had no understanding of what the books are about and no interest in finding out. All they intended was to use the name Earthsea, and some of the scenes from the books, in a generic McMagic movie with a meaningless plot based on sex and violence.

Most of the characters in my fantasy and far-future science fiction books are not white. They're mixed; they're rainbow. In my first big science fiction novel, The Left Hand of Darkness, the only person from Earth is a black man, and everybody else in the book is Inuit (or Tibetan) brown. In the two fantasy novels the miniseries is "based on," everybody is brown or copper-red or black, except the Kargish people in the East and their descendants in the Archipelago, who are white, with fair or dark hair. The central character Tenar, a Karg, is a white brunette. Ged, an Archipelagan, is red-brown. His friend, Vetch, is black. In the miniseries, Tenar is played by Smallville's Kristin Kreuk, the only person in the miniseries who looks at all Asian. Ged and Vetch are white.

My color scheme was conscious and deliberate from the start. I didn't see why everybody in science fiction had to be a honky named Bob or Joe or Bill. I didn't see why everybody in heroic fantasy had to be white (and why all the leading women had "violet eyes"). It didn't even make sense. Whites are a minority on Earth now—why wouldn't they still be either a minority, or just swallowed up in the larger colored gene pool, in the future?

The fantasy tradition I was writing in came from Northern Europe, which is why it was about white people. I'm white, but not European. My people could be any color I liked, and I like red and brown and black. I was a little wily about my color scheme. I figured some white kids (the books were published for "young adults") might not identify straight off with a brown kid, so I kind of eased the information about skin color in by degrees—hoping that the reader would get "into Ged's skin" and only then discover it wasn't a white one.

I was never questioned about this by any editor. No objection was ever raised. I think this is greatly to the credit of my first editors at Parnassus and Atheneum, who bought the books before they had a reputation to carry them.

But I had endless trouble with cover art. Not on the great cover of the first edition—a strong, red-brown profile of Ged—or with Margaret Chodos Irvine's four fine paintings on the Atheneum hardcover set, but all too often. The first British Wizard was this pallid, droopy, lily-like guy—I screamed at sight of him.

Gradually I got a little more clout, a little more say-so about covers. And very, very, very gradually publishers may be beginning to lose their blind fear of putting a nonwhite face on the cover of a book. "Hurts sales, hurts sales" is the mantra. Yeah, so? On my books, Ged with a white face is a lie, a betrayal—a betrayal of the book, and of the potential reader.

I think it is possible that some readers never even notice what color the people in the story are. Don't notice, don't care. Whites of course have the privilege of not caring, of being "colorblind." Nobody else does.

I have heard, not often, but very memorably, from readers of color who told me that the Earthsea books were the only books in the genre that they felt included in—and how much this meant to them, particularly as adolescents, when they'd found nothing to read in fantasy and science fiction except the adventures of white people in white worlds. Those letters have been a tremendous reward and true joy to me.

So far no reader of color has told me I ought to butt out, or that I got the ethnicity wrong. When they do, I'll listen. As an anthropologist's daughter, I am intensely conscious of the risk of cultural or ethnic imperialism—a white writer speaking for nonwhite people, co-opting their voice, an act of extreme arrogance. In a totally invented fantasy world, or in a far-future science fiction setting, in the rainbow world we can imagine, this risk is mitigated. That's the beauty of science fiction and fantasy—freedom of invention.

But with all freedom comes responsibility. Which is something these filmmakers seem not to understand.

Ursula K. Le Guin is the author of the Earthsea series and many other books. Her most recent book is Gifts. Still from Legend of Earthsea by Mike Ruiz/© 2004 NBC Universal TV.

calis

good enuf for her .. thats what greed does. if the books so important to her y sell the rights to monkeys in the first place. like bowie selling his music and jackson buying the beatles .. it gona end in tears. artistic integrity should always come before the buck!!!!

Evilution

I really like those Earthsea books, the aged very well.

TCamen

good enuf for her .. thats what greed does. if the books so important to her y sell the rights to monkeys in the first place.

Totally agree. She knew selling the rights that she wouldn't have much, if any, input, and now that it's been a big success for Sci-Fi, she's crying over the changes to her material. WTF did she expect?! :rolleyes:

Anyone that cares that much will just read the books anyway. I look forward to watching the mini-series.

moridin

I actually think this is a tragedy... The earthsea books, and especially the two upon which this mini-series is based, were some of the first fantasy books that I read, and it's a pity to see them being bastardised like that.

Sure, she sold the rights ... most likely on the wave of the success of LotR, but who can blame her... I'd love to see the world of Earthsea as it's depicted in her books, but I'm not really at all interested in seeing some idiots re-write of something that I grew up with.

TCamen

I actually think this is a tragedy... The earthsea books, and especially the two upon which this mini-series is based, were some of the first fantasy books that I read, and it's a pity to see them being bastardised like that.

She got paid to sell the motion picture rights to her books, so what's her problem -- she can't claim there were no precendents to look to in the area of books being sold to movie/TV companies. It's hardly the first time material has been adapted for tv/film and changed. Bottom line is if it's still entertaining once the changes have been made. By all accounts it's a good mini-series, so I'll watch it.

Sure, she sold the rights ... most likely on the wave of the success of LotR, but who can blame her...

Why does she get to blame the producers for not making an exact visual interpretation of her books? She even said herself, she knew she wouldn't have any control once the rights were sold, yet she still sold them. Fine, she thought the people who bought the rights were going to go a certain way with it, but that changed. Things happen like that all the time, in all manner of business, not just television/film.

Sir Digby Chicken Caesar

so you're saying she's not allowed be angry or annoyed at what they have done with her creation?

Nevyn

When I sold the rights to Earthsea a few years ago, my contract gave me the standard status of "consultant"—which means whatever the producers want it to mean, almost always little or nothing. My agency could not improve this clause. But the purchasers talked as though they genuinely meant to respect the books and to ask for my input when planning the film. They said they had already secured Philippa Boyens (who co-wrote the scripts for The Lord of the Rings) as principal script writer. The script was, to me, all-important, so Boyens' presence was the key factor in my decision to sell this group the option to the film rights.

She expected the books to get the same treatment and care to detail that the LOTR did. Thinking that she would be extenive consulted and that Philippa Boyens was on board she sold the rights.

Yes she got paid, but still it is horrifing to see how she was ignored and sidelined. The earthsea books were also one of the first books I had read arround about age ten, this then lead me on to Narina and eventaully LOTR by age 12.

I have watched the miniseries and even tough is it many years from my last rereading I found it lacking in a lot of ways,
those I had watched it with however had never read the book tought it was good and oooohhed and awed at the CGI.
This is think is the worset bit of it all, for now there is a lazy way (watching it) many will not read the books and the wonderous tale and it's sublties will be lost to many.

It was written to never have all white charchters the same way Anne Mccatfferty starting her writting to have all females leads for when earthsea and the dragons of Pern all the leads in sci/fi and fanasty were white males.
This fact was also parodied by the stainless steel rats books.

TCamen

so you're saying she's not allowed be angry or annoyed at what they have done with her creation?

If they had plagiarised her books without compensation then I'd be a little more sympathetic. As it stands, she entered into a transaction: money for the rights to her books.

Now I understand that she thought they were going to treat the books a particular way, but she even states herself that, despite reassurances that she would be involved in the production process, her contract did not entitle her to any more input that the production team allowed her.

Therefore, she signed the contract, got paid and was effectively cut out by the time money was available for the project to move forward. It was a calculated risk that she didn't seem to have thought about, as directors/screen writers/producers can change easily and quickly on any given production, as she herself noted.

It's unfortunate that she is not happy with the final product, but she was not entitled to creative control of the project in any great capacity, so it was not her production to manage and run. She says that the terms of her 'creative consultant' credit could not have been negotiated, but how are we to know that she tried all avenues to ensure that she would have any great input into how the miniseries was developed.

Clearly the miniseries annoys her, but perhaps she should consider at least allowing for some blame on her part for selling the rights when there was no guarantee that the level of quality she was happy with before she signed the rights away could and would be maintained.

Yes she got paid, but still it is horrifing to see how she was ignored and sidelined.

This is a reality for writers who are approached by production companies to option the rights of their work for potential tv/film products. It's not the first instance of this happening, and it won't be the last, but ultimately it's something every writer should consider before selling the rights, and it seems that she didn't prepare for the scenario that resulted in her being cut out of the production process.

moridin

Well, the reason she wrote the letter in the first place was:

Readers who've been wondering why I "let them change the story" may find some answers here.

... and under the circumstances it does serve as an explanation and a warning. I get that you're not sorry for her, possibly because you never read the books and haven't had the same experience, but surely you can comprehend how this is upsetting for her, and confusing to the many people who have been entranced by Earthsea in the past.