Writer of X-Men ’97, JB Ballard, went from Production Assistant to putting words in the mouths of superheroes. He told Jennie Cardin how he brings comic characters into three dimensions

X-Men ’97 has been hailed for not only its nostalgic animation, but for its smart writing and timely themes. It went on to be nominated for several industry awards, including the Primetime Creative Arts Emmy Award for Outstanding Animated Program. JB Ballard co-wrote the seventh episode of the series, “Bright Eyes,” with fellow writer Charley Feldman, which premiered on 24 April 2024.

When and how did you first come to the decision you wanted to pursue a career in screenwriting?  

I was pretty young, always knew I wanted to be a storyteller but it wasn’t until I took a creative writing class in school and my parents got me the Big Book of Screenwriting that it really set in. Grew up watching a ton of movies though. 

Did you study screenwriting or tv/film in college?  

Yes, I got a BA in film/tv with a concentration in screenwriting from DePaul University. 

What was your first industry job and what were your responsibilities?  

An unpaid internship writing film coverage was my first industry job. My main responsibility was providing coverage on samples, whether that be graphic novels, screenplays, or finished films. I was also responsible for the occasional lunch pickup. 

Shead some light on your path from your first job in the industry to your first job as a screenwriter – what roles did you have to manage before landing your first writing gig? 

 So many! I worked in reality TV for a few years, mostly as a production assistant in the office and on set. I also worked briefly in the commercials/student films world and had a one-time job freelance writing a virtual reality short film. But once I got into scripted tv as a production assistant, I really felt connected in the entertainment industry. Ultimately, I worked as a writers’ production assistant and writers assistant before I was able to get my first screenwriting job on X-Men ’97. 

Which role do you feel helped you the most in your pursuit to becoming a screenwriter?  

Writing script coverage was crucial, as I was able to truly learn the elements that make a screenplay worth reading (or not) from early on. 

Can you share a bit on how you first got representation?  

My manager actually reached out to me on LinkedIn! I had been working for Marvel on Moon Knight as a writers’ room assistant at the time and had put my new job status online. 

How did your role on X-Men ‘97 come about?  

I worked on Moon Knight in 2019-2020 and when X-Men ’97 was in pre-production, the manager of production and development on Moon Knight reached out to see if I’d be interested in coming back to Marvel for X-Men ’97 as a showrunner’s/writers’ assistant. 

How did it feel coming into a show where the world is already so expansive? Did you do a lot of research or were you already well-versed in the X-Men universe? 

 It was an immense opportunity that I was beyond grateful for! Definitely did a looot of research but also came in as a comic book nerd, having read them since I was ten. 

Can you briefly discuss how the writer’s room worked on X-Men ’97?   

The first season only had two full-time writers from the beginning, so episodes were broken down pretty granularly by those two and myself daily in the virtual writers’ room. We came into the show with a season bible already mostly drafted with each episode already having a one-page synopsis. The episodes weren’t assigned until later in the process, and it was months after we first started that I learned I’d be getting a co-write for the seventh episode. 

Can you share how your voice as a writer was incorporated in a collaborative project like working on a television show with a team of writers? Did you have to change your writing style at all to conform to the group?  

I definitely was heavily involved at almost every level, from design approval to writing to hiring selections from my position as both a showrunner’s and writers’ assistant. Getting to speak my piece was an honor and a privilege, especially considering it was for the first season of such a highly-anticipated show. I definitely changed my writing process to adhere to the style of the show, primarily in formatting and handling such an ensemble cast. 

How long were you given to write your episode “Bright Eyes” and what was it like co-writing with Charley Feldman?  

From outline to final draft was about a month and a half, with notes from the executives multiple times in both outline and draft stage. Co-writing with Charley was one of, if not the best writing experiences I’ve had in my career to date. They were super attentive, responsive, and clear with how the episode needed to be handled, and we worked in tandem pretty damn well. 

What was the editing process like on your episode – how many rewrites were expected?  

Writing is rewriting so that was inevitable and almost welcomed, as getting another crack at the episode to sharpen it is generally a great thing. The editing process in post was a whole other beast, as we hit various snags when it came to casting that required multiple revisions months and months after the final draft had been approved. 

In our class, we discuss a lot about the three act structure. Can you share how much structure affects how you outline an episode for television?  

Structure is undeniably crucial, and we had that in mind from the start. Knowing that a three act structure requires a climax, and coming into a show with such potential from an action and visual perspective, we were all too happy to build episodes to lead to satisfying and emotional endings that felt earned. Rising tension in the second act followed the initial question(s) posed in the first act, and having a bevy of characters meant juggling storylines throughout the season had to be considered often. 

How did it feel seeing your episode air? Were there any changes from script to screen?  

It was surreal to say the least! Several things changed, most notably the beautiful inclusion of some set elements by our brilliant director and artist team. We also inevitably had to cut scenes and moments for time which is always hard but sometimes necessary. 

I know the writer’s strike didn’t necessarily affect animation, but can you speak briefly to how the writer’s strike may have affected you in other ways? How do you feel about the impending threat of AI?  

The writers’ strike mostly affected my friends in the industry and limited my options as far as pursuing/considering other avenues outside of animation. The general uncertainty about entertainment was in the air across Los Angeles to say the least. AI terrifies me on several levels, but I’m cautiously optimistic that the recent negotiations the Writers Guild went through and current negotiations that the Animation Guild are in will provide a decent amount of protection against said threat. 

What is your favourite genre to write and how often do you write for your own projects? What is your dream project? Are there any themes you love exploring? 

I love genre writing, science-fiction and fantasy in general are super appealing to me. The show I’m currently writing on is a beautiful fantasy adaptation that has me beyond excited. I write my own projects sporadically, but far more consistently when I’m not also in a writers room where the task at hand is of the utmost priority. Thematically I’m a huge believer in telling the stories of the marginalized and the unheard and tackling themes of overreach and overindulgence. 

Can you speak briefly on your new show and how you went from X-Men ’97 to this? Are there any major differences? 

It’s an animated series at Adult Swim that is a blend of action and fantasy that I’m thrilled to be a part of. I had a pilot sample that my manager sent around town that landed me an interview for the show. Major differences would be having an in-person/hybrid room versus the always virtual room on X-Men ’97, as well as an impressive amount of diversity in the storytellers in the room and characters in the show! 

Do you have any other advice for up-and-coming screenwriters trying to break into the industry?  

It’s always gonna be an uphill battle to get into any industry that’s competitive, but the entertainment industry especially rewards those who work hard, make connections, and persevere. Vomit drafts are still drafts, getting friends and family reading your scripts is a great start, and submitting to fellowships and festivals isn’t the only way to find success but it’s a great avenue. Try not to be too harsh on yourself and don’t be surprised to hear a cacophony of no’s before ever hearing a single, powerful yes. And remember that writing is simultaneously personal and professional, so make sure to put yourself into your projects and respect your fellow writers. 

JB Ballard is represented by Heroes and Villains Entertainment.