The Picture Book Buzz - Interview w/Yorick Goldewijk, Jeska Verstegen, and Laura Watkinson
- Maria Marshall
- Oct 12
- 14 min read
Yorick Goldewijk is a Dutch author and illustrator, as well as a musician who writes music for films, television and computer games.
His book Movies Showing Nowhere won the Golden Pencil Prize for the best Dutch children’s book of the year and was shortlisted for the Flemish Boon Literature Prize.
Yorick’s the author/illustrator of Grijs ijs met haren (2023) and Billy Extra Plankgas (2019), And the author of Movies Showing Nowhere, translated by Laura Watkinson (2024), Cato und die Dinge, die niemand sieht, translated by Sonja Fiedler-Tresp (2024), A Thousand & I, illustrated by Yvonne Lacet (2023), and Aquí hay dragones (Here Are Dragons) with co-author Yvonne Lacet, translated by Gonzalo Fernández Gómez (2022).
Jeska Verstegen is an author/illustrator living in the middle of Amsterdam.
Her style is free: Fairytale-like or more stylised. The images are applicable for both adults and children. Her illustrations have been published in over a hundred books with well-known publishing companies. In 2024, Hettouw en de waarheid (The Rope and the Truth) by Marco Kunst was awarded a Golden Brush.
Jeska’s the author of I'll Keep You Close, translated by Bill Nagelkerke (2021). She’s the author/illustrator of 3 books, including Prinses op les (Keteltje) (2013). And the illustrator of numerous books, including Bear Is Never Alone by Marc Veerkamp, translated by Laura Watkinson (2023), Der Ster van Bethlehem by Govert Schilling (2023), A New Home for Beaver by Henna Goudzand Nahar (2008), Bravo, Brave Beavers! by Nannie Kuiper (2004), Bailey the Bear Cub by Nannie Kuiper (2002), and The Gift for the Child by Cornelius Wilkeshuis (2001).
Laura Watkinson, a full-time literary translator since 2003, translates into English, from Dutch, Italian and German. Her literary interests are varied, and her projects range from children’s picture books to adult novels and comics.
She’s very keen on literature for children and young adults, and she founded the Dutch chapter of the Society of Children’s Book Writers and Illustrators in 2008. She now lives in a very tall, thin house on a canal in the centre of Amsterdam.
Laura studied medieval and modern languages at St. Anne’s College, Oxford University, followed by a Master of Studies in European Literature. Then went on to teach in various locations, including the universities of Erlangen-Nuremberg and Milan, before returning to university to take a Masters in English and Applied Linguistics at RCEAL and Trinity Hall, Cambridge University. Laura then lived in London for three years, where she took the postgraduate certificate in literary translation from Dutch into English at University College London in 2001-2002. The course reinforced her desire for a career in literary translation, which has enabled her to focus on my interest in literature and cultural exchange.
Laura is the translator of 39 books, including Movies Showing Nowhere by Yorick Goldewijk (2024), Bear Is Never Alone by Marc Veerkamp, illustrated by Jeska Verstegen (2023), 533 Days (The Margellos World Republic of Letters) by Cees Nooteboom, photos by Simone Sassen (2022), The Box by Isabella Paglia, illustrated by Paolo Proietti (2022), The Three Princes of Serendip: New Tellings of Old Tales for Everyone by Rodaan Al Galidi, illustrated by Geertje Aalders (2021), Talking to Alaska by Anna Woltz (2021), The Goldsmith and the Master Thief by Tonke Dragt (2021), Animal Languages by Eva Meijer (2020), Venice: The Lion, the City and the Water (The Margellos World Republic of Letters) by Cees Nooteboom, photos by Simone Sassen (2020), A Tiger Like Me by Michael Engler, illustrated by Joëlle Tourlonias (2019), Spiky by Ilaria Guarducci (2019), and The Song of Seven by Tonke Dragt (2018).
There newest picture book, The Tree That Was a World, releases on October 14th.
Welcome Yorick, Jeska, & Laura. I’m excited to talk with all three of you about yourselves and your new book!
Thank you so much for the invitation to talk about our book!
Tell us a little about yourself. (Where/when do you write, illustrate, or translate? How long have you been writing, illustrating, or translating? What is your favorite type of book to write, illustrate, or translate?)
YORICK – I've been writing since I was very young. I always imagined myself to be a writer, and I've sent several manuscripts to publishers. None of them got published, though, so I had already kind of given up on that and decided I'd just write for myself.
Until suddenly, at the age of forty, it finally did happen!
When I write, I always listen to music. A story starts with a mood, a feeling, before anything else. That specific mood can become so strong that the story starts evolving from it – at least, that's how it works for me. And listening to the right music enables me to keep that mood close to me. All of my books have a very specific set of songs that I listen to on repeat through the whole process of writing. Maybe it's because I'm a music composer myself. Music and language are very much alike, I think.
JESKA – I've been illustrating for a long time, thirty-five years. I work from my home in the heart of Amsterdam, near the Rijksmuseum.
I really like to draw these kinds of books—the types of stories you can get lost in. I like the hidden philosophical layer in it, too. It is nice to draw things that make the reader wonder, always leaving a bit of room for them to create a vision of their own.
LAURA - I usually translate at my desk at home in Amsterdam, from where I look out onto a canal. There’s often something interesting happening outside, either on the water or on the street, so it’s easy to get sidetracked. But it keeps things lively. Occasionally I work in a café in town – the one at the Dutch National Bank is a new favorite.
I like to translate books with a good sense of rhythm and pace, and I’m a fan of books with strong plots. I also love illustrated books and graphic novels. It’s fun to work with images and to think about how the translation can reflect the pictures.
I love learning languages, and it feels like I’ve been translating ever since I started learning French at school. I studied languages at university and did some translation work here and there, but I’ve been working seriously as a literary translator for about twenty-five years now.
It is wonderful to "meet" you all! And thank you for sharing these insights, What is one of the most fun or unusual places where you’ve written a manuscript, created an illustration, or created a translation?
YORICK – A lot of the time I spend writing, I'm pondering, brooding, searching, solving problems, trying to find ways to make impossible things possible. But there are also moments that I'm so absorbed and inspired and certain of the path the story is taking, that nothing can bother me. Anywhere is a perfect place to write when I'm in that spot—standing in the train during rush hours, sitting in the cold on a bench next to a busy street—even if I just have a few minutes, I can dive into the story at these moments.
But most of the time I spend writing at the kitchen table, next to our tiny garden. Preferably with coffee.
JESKA – When I was young, I loved to climb trees. I drew up there as well, high up in the treetop. I brought snacks along, too, and a cushion, because branches do not sit comfortably after a while. I haven't climbed any trees lately. (I should!) I'm afraid nowadays. I prefer a nice and comfy tabletop. I like to work in my own space with no one about!
LAURA - I find it surprisingly easy to focus when I’m on trains and planes, so I sometimes get a lot of work done when I’m on my way to different places. I haven’t translated up a tree yet, but I’m willing to give it a try!
I agree that sitting up in a tree might be the next great experiment in this journey! Sounds like you all have some wonderful spaces to work. Yorick, what was your inspiration or spark of curiosity for The Tree That Was a World?
YORICK - I used to climb trees when I was young (who didn't?), and since I had a lively imagination, I loved to just sit there and imagine I actually lived in the tree, along with many animals. I loved thinking about all the nests and tunnels, holes and dens where all kinds of animals would go about their routines. So, I imagined this tree to be a complete universe. It felt adventurous and sheltered at the same time. I think that these moments always lingered somewhere in my mind and resurfaced when Jeska and I started to work on this book.
I think you wonderfully captured the adventure, shelter, and a touch of mystery in the book. Jeska, what about The Tree That Was a World manuscript appealed to you as an illustrator?
Image © Jeska Verstegen, 2025.
JESKA - An editor thought Yorick and I would be able to create a special kind of book together. And when Yorick and I met for the first time, it was immediately clear we both have a special place in our hearts for nature and strangeness. One day, Yorick told me he thought of a title for his idea: The tree that was a world. It immediately appealed to me. I created an image for the cover while he was still writing. Everything fell into place in a natural way.
That must have been a rare pleasure to get to work together on the book. Laura, what about The Tree That Was a World manuscript and the illustrations appealed to you as a translator?
LAURA - Oh, I just love Yorick and Jeska’s work. I’ve translated separate projects by both of them before, and the two of them make a great team. I was thrilled when Eerdmans decided to go ahead with this book and asked me to be involved. I think my favorite illustration in the book is the one of the wood louse – it’s really touching to see the tiny little guy and the great big tree. And Yorick’s stories are so relatable and full of humor. Yorick and Jeska both have very distinctive and quirky styles that are great fun for a translator to work with.
That does sound like something fun to work with. How many revisions did The Tree That Was a World take for the text or illustrations from your first draft to publication?
YORICK – Not very many, actually. I believe Jeska and I both immediately had an idea about the direction the book should take during our first meeting, even though the initial plan before meeting up was quite different. I started writing, Jeska started painting, and it just blended very well.
JESKA – There are times I have to search for the right kind of feel for images. But not in this case. The illustrations sprang to my mind—like the happy dancing sloth! I really enjoyed every single minute working on this project.
That's exciting! Laura, with translations, do there tend to be multiple rounds of revisions as well? If so, how many revisions did The Tree That Was a World take?
LAURA - Absolutely. I can’t tell you quite how many revisions there were, but I always do a lot of rounds. I first translated a few sample chapters, which went through my own revision process—a rough version, followed by several passes to polish and tweak, and then incorporating feedback.
I aim to read the translation out loud, too, as that sometimes helps with the flow. Then, in this case, I translated the whole book, bringing in the sample chapters and working on various iterations before sending it to the editor for her comments and thoughts. Kathleen Merz at Eerdmans is a great first reader and a very fine editor. I really enjoy working with her. We bounced a few questions around with Yorick, too, and then finalized the text.
Thank you for your insight into the translation process! It is fun to learn more about it. Yorick, what was the toughest part of writing The Tree That Was a World? What was the most fun?
YORICK – The toughest part was finding a new angle and a different approach for every story. I didn't want to repeat myself—the reading experience needed to remain fresh and surprising through the whole book. So, I've written many drafts and pondered on many ideas that eventually didn't make the cut.
This was actually also the most fun. It wasn't easy, but in the end, I managed to have every story feel like an essential part of the book. And what I really love to do is play a game with the minds and expectations of readers, to throw them off a little. I expect readers to be intelligent, open-minded, flexible thinkers who are open to take on a different perspective. I love to provoke them a bit.
I love that thought and the unexpected format and feel of the book which you achieved. Jeska, what was the toughest part of illustrating The Tree That Was a World? What was the most fun?
JESKA – O dear.... I really loved the full process, but maybe the toughest one was drawing all the dots for the Universe Fish. I created this particular drawing over several days, taking breaks from the same dotting-movement to give my arm some rest.
The most fun? I think the drawing of the woodlice. Because it is the only leading character in a story I ever drew by literally putting down just one dot. I was laughing out loud at my desk when I thought of this particular idea. Probably most illustrators would have zoomed in on the little bug to show the woodlice's expression. I had great fun zooming out: the tiny dot says it all. :-)
Both illustrations are stunning. I love your unusual take with the woodlice, and your answer made me chuckle. Laura, what was the toughest part of doing the translation of The Tree That Was a World? What was the most fun?
LAURA - Tough? Hmm. That’s a tough question. I do remember how often I disappeared down rabbit holes when I was translating this book, though. There are so many fantastic animals in the book and, of course, I translate on my laptop, and the internet is only one click away. So, I found myself doing way more “research” than I, strictly speaking, needed to do. It may have slowed down the translation a little, but it was also part of the fun, as I love animals.
HA! As a fellow rabbit-hole diver, I totally understand. Yorick, did anything surprise or delight you when you first saw Jeska’s illustrations for the first time? Which is your favorite spread?
Text © Yorick Goldewijk, 2025. Image © Jeska Verstegen, 2025.
English-language translation © 2025 Laura Watkinson.
YORICK – Yes, I was completely delighted by what she created, from the first draft to the last batch of illustrations. Jeska took every story and made it her own. Her pictures tell parallel versions of the stories instead of mimicking them, which turns the book as a whole into a lively tiny universe. My favorite spread is the one of the Universe Fish.
Gorgeous! And now you can see why Jeska needed to take a few breaks! Jeska, is there a spread that you were especially excited about or proud of? Which is your favorite spread?
Text © Yorick Goldewijk, 2025. Image © Jeska Verstegen, 2025.
English-language translation © 2025 Laura Watkinson.
JESKA – I'm always a bit hesitant to choose. But I like the way the illustration of the swallow worked out. It's a bit poetic—there is a hint of strangeness, too. And the illustration I mentioned previously: the one with all the animals in it. It's dream-like. I would love to reside there.
I love the 'strangeness' or compelling composite of the image you created! Laura, what appealed to you most about the illustrations? Which is your favorite spread?
Text © Yorick Goldewijk, 2025. Image © Jeska Verstegen, 2025.
English-language translation © 2025 Laura Watkinson.
LAURA - Ooh, I love Jeska’s use of color and her starry skies are beautiful. Her humor really appeals to me, too. I mentioned it before, but the simplicity of that tiny, indignant little wood louse as he confronts the tree really struck me when I first saw the book. Even now, with all the fabulous pictures in the book, I think it’s still my favorite spread.
This is such an interesting illustration! Is there something you want your readers to know about The Tree That Was a World?
YORICK – The person I dedicated the book to – Wies (check the beginning of the book), is my sister, Lisa. As kids, we used to make up stories with our stuffed animals. While I was writing The Tree That Was a World, I thought about that a lot.
JESKA – I like the illustration of the tree with all the animals and the tree in it. Somehow it reminds me a bit of The 100 Acer Wood in the story of Pooh Bear. It's not intentionally drawn this way, though. When I look at the drawing I can feel myself floating right into the image breathing in the fresh forest air.
LAURA - I’m so happy to see this book getting more readers in a new language, as it so richly deserves to. It’s a beautiful book, both in terms of the stories and the illustrations, and it has a quirky humor of a kind that I haven’t found so often in books written first for the English-language market.
The format of small, interconnected stories, as well as the humor, exploration, and whimsy definitely remind me of the Pooh stories. I'm glad Eerdmans picked it up, too. Jeska, many illustrators leave treasures or weave their own story (or elements) throughout the illustrations. Did you do this in The Tree That Was a World? If so, could you share one or more with us?
JESKA – You can't escape scattering personal elements into the artwork. Your subconscious is always present. So I wasn't intentionally leaving treasures. But, for instance, I listened to the audio book Wolf Hall by Hilary Mantel while drawing. That influenced the illustration of the ant!
I love the Pooh Bear stories by A.A. Milne, so maybe that warm feeling seeped into the all-animals-together-with-the-tree-image? I get really enchanted by walking into a forest early in the morning, foggy clouds silently lingering between the trees. I tried to capture that feeling at the beginning of the book.
Oh my gosh, you totally nailed the mysterious magic of an early morning foggy experience. Are there any projects you are working on now that you can share a tidbit with us?
YORICK – My new book, Albatros, is just out in The Netherlands. Although animals play a big role in the beginning of the story, it's a completely different book. It starts with the main character, Abel, one morning finding that all people seemed to have turned into animals.
Abel starts looking for other human beings, but to no avail. Only when he crosses the bridge and ventures into the hostile territory of the land they've been at war with since ages, does he find one other survivor: Cat, a cynical, hateful girl.
Although they are born and sworn enemies, they need to find a way to accept each other’s company while they search for answers. What has happened? Are there other people left? And why are they still human beings?
JESKA – I'm illustrating Alice in Wonderland at the moment! It's a real adventure for me and I'm working on it with my heart and soul.
LAURA - I’m currently working on another brilliant picture book project for Eerdmans, which involves a bear. Interestingly, I previously translated a different picture book about a bear for Eerdmans, illustrated by Jeska and written by Marc Veerkamp: the fabulous Bear Is Never Alone. Bears are always great fun, and they work wonderfully well when you’re reading picture books out loud and doing all the voices. I’m really looking forward to seeing how the new bear picture book turns out.
These all sound so intriguing. We'll have to keep our eyes out for them. Best of luck to you all with your projects. Last question, what is your favorite National Park or Forest, regional park, or city park (anywhere in the world)? Or the one you’re longing to visit. Why?
YORICK – I love Schiermonnikoog, a small island in the Wadden Sea. It's not far from the mainland, but it feels like a completely different world where time flows at a different pace. It has fantastic 'beach-landscapes' that seem to go on forever, wonderful, unique nature and an overall sense of quietness that is rare for The Netherlands.
JESKA – Such a fun question! I love The Vondelpark in Amsterdam, Central Park and a forest in a little place in the Netherlands called Bergen.
LAURA - On our last road trip through America, quite some years ago now, my husband and I stopped off for a couple of days at Yellowstone, and we were absolutely blown away by the scale of the place and by the amazing geographical features and animals. We were caught in a traffic jam of cars and bison at one point for about an hour, afraid that these huge creatures might decide to fight our car. It truly was an awesome experience, and we were glad to escape unscathed. I also love city parks, and we’re lucky to have the lovely Vondelpark and Westerpark in Amsterdam. No bison there, but lots of friendly dogs and good coffee.
Thank you, Yorick, Jeska, and Laura for stopping by and sharing with us. It was a pleasure chatting with you all.
To find out more about Yorick Goldewijk, or contact him:
Website: https://yorickgoldewijk.nl/
To find out more about Jeska Verstegen, or contact her:
To find out more about Laura Watkinson, or contact her:
Website: https://laurawatkinson.com/
