Thomas B. Sawyer is the former Head Writer of Murder, She Wrote. Before breaking into television, he was an illustrator and worked for Stan Lee at Marvel. Tom is a good friend, and I had the chance to catch up with him to discuss his diverse career as an artist, TV writer, and author. We talked about what it was like writing for Angela Lansbury in her iconic role as Jessica Fletcher, the early days of the comic book industry, and much more. Watch my video interview with Tom below and pick up a copy of The Art of the REAL Tom Sawyer, a book celebrating his career as an illustrator. Enjoy!
Today, five days shy of her 97th birthday, the great Angela Lansbury passed away. I had the honor of seeing her live twice — once on Broadway and another time in Washington, D.C. — and I met her backstage on March 28, 2015. Below are my thoughts on her tremendous talent, what it was like meeting her, and my connection to the world of Murder, She Wrote.
I met the late, great author Donald Bain at ThrillerFest, and I had the pleasure of interviewing him in 2013. He was a kind and gifted man, and when Donald Bain passed away in 2017 I was devastated. Thankfully, his amazing Murder, She Wrote novels live on. Around the time of the 4th of July this year, I decided to read Murder on Parade because it too takes place during the 4th of July. Is it any good? Read on for my thoughts.Continue reading
I had the honor of seeing Angela Lansbury and James Earl Jones act together, live on stage, in Gore Vidal’s The Best Man on Broadway in 2012. It was a spectacular show, and both actors, as well as the rest of the star-studded cast, were incredible. Having had this experience, I was eager to listen to the Audible Original production of Driving Miss Daisy, narrated by Angela Lansbury and James Earl Jones.Continue reading
Thomas B. Sawyer has led an extraordinary life. With a name like Tom Sawyer, how could he not?! From illustrating comic strips to being the head writer of Murder, She Wrote, Tom’s autobiography, The Adventures of the Real Tom Sawyer, is a delightful memoir that takes the reader through all of the interesting moments in Tom’s life. Punctuated with humor and wit, reading this book felt like I was having a cup of coffee with Tom while he told me fascinating stories about his impressive career. If you’re a lover of writing, film, TV, or simply entertainment, Tom’s autobiography is absolutely worth reading. I thoroughly enjoyed it, and I believe you will too.
Growing up, did you always want to be a writer?
In a way, yes. My childhood ambition/fixation was to draw and write a realistic syndicated daily newspaper comic strip, telling a continuous story. There are almost none of those today, but they were big when I was a kid. My hero was Milton Caniff, who drew and wrote such strips as Terry & the Pirates and Steve Canyon. I started freelancing as a comic-book artist (writing a few) in Manhattan at age 20, moving on to advertising, where I became a successful illustrator. Along the way, I realized that doing a daily strip was not for me, so I began making short films, and fell in love with directing. I studied with Lee Strasberg, directed off-off Broadway, and directed/produced TV commercials for major ad agencies.
What led you to the television industry?
I moved from NY to the LA area to try breaking into movies – as a director. My plan, produce and direct a low-budget comedy as a calling-card. My writer fell out as soon as I arrived on the Coast, so I wrote it myself. Then, the financing fell through, so I bankrolled it, shot it, and began screenings in hope of finding a distributor – and getting my money back. By then, I’d begun to network with people in the biz, and would invite them to screening as well. One was a multiple Emmy-winning writer/director/producer, Lila Garrett. She approached me at the end of a screening: “Tom, you should be writing for television.”
Truthfully, I had never even thought about that, totally focused as I was on directing movies. I asked her how I might get started. Her response, with a shrug: “I’ve got a production deal. If you get an idea, call me.” Two weeks later, I phoned her with a one-line pitch: “A gang-comedy on a tacky used-car lot in the valley.” She said: “That’s great. You’ll write it and I’ll produce it.”
Another two weeks, my first gig in Hollywood: I was writing a comedy pilot for CBS. Incidentally, it was several years before I realized that is not the way it works for most people.
How did you become involved in Murder, She Wrote?
I became a writer for Murder, She Wrote (MSW) before it began to air, the result of my agent sending show creator Peter Fischer a non-mystery series pilot script I’d written for CBS, a one-hour WWII drama titled Cody’s War. Peter ‘saw’ something in it – presumably, that I could write scenes that worked – and he gave me a ‘blind assignment’ to write an episode. Meaning, I had to first come up with a story that was acceptable. He invited me to come in and view the pilot, and to me, anyway, Angela Lansbury’s specialness, her presence, was awesome. As was the prospect – the honor and privilege, really – of writing for her.
MSW looked to me like a hit, and I said so. In response to my question about the approach, the show’s style, Peter explained that he envisioned it as “sort of” in the mold of traditional Agatha Christie puzzle mysteries. Which prompted – with no hesitation: “Peter, I have to tell you, when I was a kid I read a couple of Christies and one or two locked-room mysteries, you know, where they gather the suspects in the drawing-room at the end? They bored the shit out of me, and I won’t write that for you.” His response: “Okay. What will you write?” “I’ll write The Maltese Falcon.” Peter replied without missing a beat: “That’ll be fine.” And – on reflection – I realize that that was my signal contribution to the show. With few exceptions, over the next 12 seasons, in each episode we did a play about a bunch of interesting characters in conflict with each other. And someone is murdered.
What was it like working with Angela Lansbury?
The absolute best. Angela was – and still is – a total professional, without vanity, generous to other actors. My only frustration was that the character of Jessica Fletcher, as originally conceived, used such a tiny fraction of Angela’s incredible range as an actress. But in re-examining her movies, I observed that she played irate-and-pissed-off better than almost any actor in the world. So I contrived, in each episode, to give her at least one moment when another character would say the equivalent of: “Ms. Fletcher, I don’t have time for this, so get outta my office.” And Jessica would get her back up – and the show would immediately take on that energy.
Murder, She Wrote regularly featured popular guest stars. Which guest stars did you enjoy working with the most and why?
Jerry Orbach tops the list. Jerry played a recurring character, PI Harry McGraw, which we eventually spun off into a series (The Law & Harry McGraw). Jerry, a major Broadway musical star, was a great guy, and a delight to work with. Oh, there were so many others, too: Len Cariou, Anne Meara, Lorna Luft, Milton Berle, Bobby Morse, Buddy Hackett, Steve Lawrence… The list is endless.
How did your role on the Murder, She Wrote team evolve over the years, and what was it like when the show came to an end?
I was on staff, then off, doing other shows, and pilots and film scripts, plus the McGraw spinoff, but continuing to write for MSW. And then, after 7 seasons, Fischer departed, and I was asked to take over as Head Writer/Showrunner, which I did – and enjoyed enormously – for the next 5 seasons.
It was sad when CBS pulled the plug. We were still one of the top shows, but had become a casualty of demographics. We were on opposite ABC’s Lois & Clark, which had 1/3 fewer viewers. But, of a more advertiser-desirable age-group, they were able to charge more for commercials.
Our final episode: “Death By Demographics,” was about the murder of a broadcaster.
What is the TV script-writing process like, and how many revisions are made before shooting a scene?
A lot depends on the type of show. Comedies involve a lot of meetings in the “Writers’ Room.” Dramas, less so. And while I’ve written finished shooting scripts for action-adventure shows in as little as four days, teleplays for MSW took several months. Plus – unlike many theatrical movies – in TV, once the script is written, that’s what is shot.
The Writers Guild dictates that the TV episode writer do two drafts of the story (outline), and two drafts of the script. After that, the show’s staff writers have to make any necessary changes. Thus, it is in the interest of those staffers to work closely with the freelance writer, holding his/her hand along the way, so that final script is as close to shootable as possible.
I regard his loss as one of the major tragedies this country has experienced. JFK’s passion was without equal. Moreover, I find his life and family fascinating (operatic, really, hence, Jack), and the truth about his assassination never revealed (thus, my take on it, The Sixteenth Man).
How does writing novels compare to writing for television and theater?
In novels the writer really gets the chance to know the characters far more intimately. Though in the case of Jack, the writing process – and getting to know the characters went on for years. More than five in fact, before we figured out who Jack Kennedy was.
Your conspiracy thriller, No Place to Run, was focused on the U.S. government’s involvement in the 9/11 terrorist attacks. What inspired the premise? And did the sensitive subject matter lead to any interesting encounters with the government or law enforcement officials?
I gradually became convinced that 9/11 was known to be in work, and was abetted/permitted to happen because our government (as in: the MICC Complex) needed an event that would cause the public to put up with another war. I’m fully aware that once history is written, it becomes part of the public’s comfort-zone, but in writing that book, I figured if I could make as many as a dozen people think (re-think, actually), I had succeeded.
It did not provoke any encounters with government or law enforcement, but I was invited to post my take on it at a very interesting website, patriotsquestion911.com, where I found myself in some amazing company. I have since appeared on panels with a number of them. But getting the book published wasn’t easy. The head of one of the major houses in NY said to my agent: “I really like Tom’s writing, but I’m offended by his premise.”
More than anything else, TV taught me that the number one requirement of any writer, (novelist, historian, ad copywriter, clergyman, you-name-it), no matter how lofty the goal, is to know – and never forget — that we are Entertainers.
Simply put, unless we entertain, one’s audience isn’t going to stay with us until The End.
Are there any authors in particular that you read regularly and draw inspiration from?
Absolutely. Moreover, these hold up for me on rereading. John O’Hara, Dashiell Hammett, Raymond Chandler, Donald Westlake, Elmore Leonard, Irwin Shaw, and Eric Ambler.
What do you think is currently the best-written show on television?
For me – and they’re inconsistent, a tossup between Blue Bloods and The Good Wife. The all-time best? The Sopranos.
Are you working on any exciting new projects?
Yes. I just finished my first non-stand alone thriller (w/humor), Cross Purposes. It features a New York PI, Barney Moon. Barney, a permanent fish-out-of-water, hates Los Angeles, is stuck there, and he doesn’t drive. I’m also completing my memoir, Who Knew…?