Since Porcelain: A Gothic Fairytale is launching in only two days in the UK, we decided to give you a little more information about it, since all we did lately was rave on about how good it is. The two people that were involved the most in the creative process: Benjamin Read and Chris Wildgoose, the writer behind the story and the illustrator, respectively, took some time out of their busy schedule to give us a little background information on how the story came to be, what makes them tick and what we might be regaled with in the future. Here are their answers to some of the questions we put together for the two of them. Many thanks to Matt Gibbs who made it all possible.
Porcelain: A Gothic Fairytale is, as I mentioned above, stunning and quite unique, with lots of twists and turns, but how did the story come to be? Was it inspired by something in particular and if so, by what?
What fuels your imagination, when writing or drawing? Is there something that you turn to whenever you start a new project, or is there something different every time?
[Ben]: I read everything I can get my hands on; everything. Lots of fiction, stacks of non-fiction, a lot of comics, but a tonne more prose. I think it’s part of the job, both for craft and inspiration. It’s never a chore either as it’s my favourite thing to do. Then from that there’s always something that forms into an idea. Normally two very different things that clang sparks off each other.
[Chris Wildgoose]: I’m much the same as Ben- I’ll go away and read a lot, Ben will recommend a lot too and suggest artists that have influenced him along the way, and I’ll absorb art styles and see if there’s something I’d like to try or some kind of influence I’d like to shine through. That just comes from looking through piles of art. For Porcelain I was looking to a lot of European artists and seeing how typically a European page would flow.
There was a moment, while I was reading the comic where I was sure I knew how it was going to end, then everything changed and suddenly it was an entirely new perspective on what could’ve been a cliché. Suddenly I had to play detective and look for clues as to what was going on. Was that something you have done on purpose? Was it motivated by a personal disappointment in certain stories you have read?
[Ben]: Oh, it was definitely deliberate. One of the joys of working with fairy tale architecture and the trappings is that the audience is convinced that they know where the story’s going and that they understand the tropes. As a writer, if you can veer off that path and into the woods, and take the reader into unknown territory then you can start to create something really interesting. I don’t think it was motivated by disappointment in other stories, just by an interest in doing something different with the form.
At the back of the book there are quite a few sketches, showing the evolution of Child and of most of the characters. 
[Ben]: Normally, I write full script and Chris comes back with his interpretations, then we gently wrangle it until we get something we’re both happy with. We have very similar aesthetics so we very rarely clash. Indeed, I can’t remember anything we’ve been at loggerheads over. The Porcelain process was mainly us figuring out how we worked together and many hours were spent on Skype as a result of a slightly description-lite script on my part. As a direct result of that, I write a lot longer, more descriptive scripts these days to save some of that time.
[Chris]: I think the biggest thing I was argued down from was the colour of Child’s hair, as at first I was adamant she was a redhead! Other than that I don’t think we really had any head banging moments. As Ben mentioned, this was our first ‘long form’ book together so we mainly just ironed out our process of working together and we really just wanted to get the best thing we could out, so I think we knew there was going to be times to consider the others points.
The story is quite dark, yet there’s a sliver of hope that comes from the pages, or at least it seemed so to me… Now, my question is, in a world of prequels and sequels and third cousins twice removed of an original story, have you ever considered continuing this, as opposed of it being a one-shot?
[Ben]: Yup. Watch this space… *Retreats enigmatically into the dark.*
If you could change anything about Porcelain: A Gothic Fairy Tale, would you do it? And if so, what would it be?
[Ben]: I’m sure there’s fifty things both of us would tweak or expand upon given the chance, but that way lies madness. You make something to the best of your ability at the time and move on to the next one. You look back on what wasn’t right with it and make sure that you don’t do it again, that’s all. Je ne regrette rien.
[Chris]: I wouldn’t change anything big. But if I had to name one thing, I’d say I wish I’d used the Mr Ruffles character a bit more. He was fun to draw and could be used to have a little bit of background mischief. 
Benjamin, you have been involved in several things: comics, movies, could you tell us a bit more about the films you’ve had a hand in when it comes to the writing? Warhouse comes to mind, 500 Miles North. How did these two projects come to be? How different is it to work on a movie from working on a comic book, from the writer’s point of view?
[Ben]: I work with the director, Luke Massey, via our little production company M&R Films Ltd, to make UK indie films. Warhouse, our horror film, starring Joseph Morgan, is out November in the USA via XLrator Media. 500 Miles North, our darkly comedic road movie, is still in post. The process is totally different than writing for comics though. For starters, I’ve written both films with Luke rather than solo. That’s a big change- hugely enjoyable though, and very productive for both of us. Also with comics, you’re just writing for the artist pretty much- that and the editor are the only people who really have any input into the finished product and the script is 50% of that product. With film, the script is a framework that the film is built on and anywhere between 20 to 50 people, even in a small team, will have input- director and actors, of course, but also sound, costume, art design, colourists, and a stack of other people will affect what goes on screen. You simply can’t be precious about what happens to your words. I save that for comics 😉
What is the most challenging thing to draw? Not just as far as Porcelain goes, but in general, do you ever find yourself struggling with something?
[Chris]: Porcelain-wise the most difficult thing I found to draw were the Hounds. As much as I loved Gog and Magog those damn things 
Are either of you perfectionists? Has that ever turned out to be a challenge when trying to complete a project?
[Ben]: Yes, and yes. Next question! Yeah, we’re both a little obsessed. There’s been a lot of eleventh hour tweaks to get stuff just-so. However we’re both realists. A deadline’s a deadline, and sometimes you just have to stop and move on. A painting’s never really finished and all that.
[Chris]: I think our very process of going constantly back and forth throughout the creation stages shows you how pernickerty we can get! But as Ben says we do realize that somethings just have to move on. Otherwise we’d still be working out all the kinks now!
Chris, Ben had a little input on what you drew, did you have any suggestions or involvement as far as the story goes?
[Chris]: Ben will often heed my feedback. I didn’t have many big changes to really add to the story as I think Ben had nailed it. I had more of a stamp on the culture and structure of things, such as the location design and sometimes little finer details such as unspoken relationships between the urchins or say a moment being silent rather than having dialogue. Nothing that really changed the course of the story.
Can you tell us anything about your current projects? Do any of you have a “dream” project? Something you would love to do but you haven’t had the chance yet?
[Ben]: Ooh, loads – I’m doing an all-ages book with Laura Trinder called Night Post, which is about a postman who does the midnight round for the supernatural community. Chris and I have the first book of our sci-fi odyssey Butterfly Gate coming out soon, and we’re in the middle of our next big book, Briar, which is another trip back into fairy tales at our own curious angle. I’m writing another film too.
As for dream project, I think I’m doing everything I want to be. More time would be nice. I’ve got a book about European folklore I’d love to have the time to do. Then there’s the novel, of course…
[Chris]: As mentioned by Ben just then, Butterfly Gate and Briar are both in the works at the moment. Both are so exciting, I can’t wait to see what people think of those. I’m also doing a little short piece for a Horror anthology out later in the year and have a couple of guest spots in an indie comic series called ‘The Pride’. Hopefully, somewhere in there, I’ll get some writing done myself too.
What is unique about your style of art? What made you choose this particular way of designing the worlds that you bring to life?
[Chris]: I’m not totally sure what makes me unique just yet I don’t think. I still feel very early in my career and have miles to go so I find it hard to say what makes me stand out. Maybe my detail and that I really like to animate the characters and make them act out their lines. As for the design approach, I think it’s a very instinctual thing. I tend to go with the flow and try and draw on a lot of cultures and influences I’ve had.
Have you ever done commission work? What was the oddest thing anyone has ever commissioned?
[Chris]: I love doing commissions, often gets me drawing characters I’d never think of sketching. The weirdest thing is possibly a sketch of an old man riding a giant fat hog, but that was my idea!
How did your collaboration to start up Improper Books began? Is there a story behind that, more than you shared on your page? Have either of you dabbled in the other’s field of expertise? 
[Ben]: Met on a battlefield, found a common cause, and decided to stick a flag in the ground and make our stand. That’s certainly how I remember it anyway. Now I get to make comics with some of my best friends and people seem to like them. I have no complaints.
Occasionally I draw little sketches for Chris. It always seems to make him laugh. I have no artistic pretensions whatsoever.
[Chris]: A true story! Yeah we met through working on a film Ben had written. I was the concept/storyboard artist and I was asked to go to the set to help physically make a costume I’d designed. When we met in person we just kind of clicked. I think Ben found a perfect human he could mock and poke with a stick, whilst having said sad creature draw his crazy whims.
Who’s your hero when it comes to writing or drawing? Is there anyone that you would love to work with and you haven’t had the chance yet?
[Ben]: In comics- Gaiman, Moore (natch). Prose, the list is endless, currently A.S. Byatt, Alasdair Gray, and I’m re-reading Iain Banks and have just been reminded how extraordinary he was. To work with, loads, but I think UK artist Simon Gane’s work is jaw dropping and I’d love to write something for him.
[Chris]: Comics wise, I’m constantly referring back to an artist named Dylan Teague. He’s been an unwitting mentor and has helped me out a few times when I’ve felt unsure, plus his art is of the finest quality in comics I’d say. Outside of comics I’m constantly referring back to artists such as Arthur Rackham. The man was a down right illustrative genius.
I’m a big fan of Patrick Rothfuss. He’s a current writing hero of mine and I’d love to work with him on anything. On the comic front, I’d love to work on anything by Mike Mignola or any kind of spin off from the Hellboy universe.
Any advice you could give to aspiring writers and illustrators? Or artists in general?
[Ben]: Whatever it is you do, do it a lot until you get better at it. Absorb everything in your medium that is being done by people who are already good. Repeat. There’s no shortcut and the process never really ends.
[Chris]: What he said. I find it surprising whenever I get asked this because I’m so new into the field myself. But nothing is truer for our kind of craft; if you want to get good you need to practice, practice, practice and especially when you don’t want to.