Fiction Collection: Aromantic Centred

Handdrawn illustration of a green meadow foreground with green and yellow pine trees growing against a mint-hued sky. Scene is overlaid with the dark green/light green/white/grey/black stripes of the aromantic pride flag. The text Aro Worlds Fiction sits across the image in a black, antique handdrawn type, separated by two ornate Victorian-style black dividers.

This is a separate list of all my works with aromantic protagonists centred on aromantic experiences and narratives. My other aro works can be found on my fiction page.

It’s also worth noting that my protagonists are like to be various combinations of trans, non-binary, multisexual, disabled and autistic.

The Wind and the Stars

Cover for "The Wind and the Stars" by K. A. Cook. Cover shows a night-time scene of black, silhouette-style tree branches against a cloudy sky with a full moon, a lighter halo of cloud surrounding it, in the top centre of the cover. The title text, in white serif and antique handdrawn-style type, is framed by three white curlicues, and a fourth curlicue borders the author credit at the bottom of the cover.

True love’s kiss will break any spell. Always be kind to wizened crones. The youngest son is most favoured by wise foxes and crows. Princes save princesses from beastly dragons and towers overgrown with briar brambles. A happily ever after always involves a wedding…

The Wind and the Stars is a short aro-ace fairy tale about heroes, love, adulthood and the worlds we make in the stories we tell.

Contains: a non-amorous, agender, aro-ace protagonist inventing the fairy tales that describe their life.

Hallo, Aro

Cover image for Hallo, Aro: Allosexual Aromantic Flash Fiction by K. A. Cook. Cover features black handwritten type on a mottled light green background. Cartoon images of arrows--in four different styles--sit in diagonal rows across the cover, the fletching and shafts coloured in the stripes of the green/light green/white/yellow/gold allosexual aromantic pride flag.

Is it “aay-romantic” or “arrow-mantic”? What if she hears “I’m a romantic” instead of “I’m aromantic”? What if she says “isn’t that just friendship” or “that can’t be real” or, worst of all, “I’m looking for something more”?

Hallo, Aro is a series of flash fiction stories about allosexual aromantic characters navigating friendship, sexual attraction, aromanticism and the weight of amatonormative expectation.

Contains: Dragons, a duchess’s daughter, an autistic who collects pride merch, odd voyages into creative non-fiction, allo-aro werewolves, the power in aromantic discovery and a whole lot of allo-aro feels and experiences.

When Quiver Meets Quill

Cover image for When Quiver Meets Quill: Collected Aromantic Fiction by K. A. Cook. Cover features black handwritten type on a mottled mustard background. Cartoon images of arrows--in four different styles--sit in diagonal rows across the cover, the fletching and shafts coloured in the stripes of the green/light green/white/grey/black aromantic pride flag.

Jessie’s casing an art gallery affords an opportunity to discuss a queerplatonic relationship. The phrase “I don’t love” encompasses more than a prince’s lack of romantic attraction. A gay aromantic makes a game of his alloromantic co-workers’ inability to accept him. Alida finds an accomplice in petty revenge after hir friend sets hir up on a date. An aro-ace wanderer invents their own fairy tales free of weddings as a happily ever after. And a demiromantic witch learns about aromanticism from her allo-aro cousin after an escapade with an unwanted romantic admirer.

When Quiver Meets Quill collects fourteen fantasy and contemporary aromantic stories about amatonormativity, friendship and connection.

Contains: Asexual aros; allosexual aros; aros without reference to sexual attraction identities; transgender and non-binary aros; queer aros; autistic aros; neurodiverse aros; and a genderless aro dragon.

The Sorcerous Compendium of Postmortem Query

Cover image for The Sorcerous Compendium of Postmortem Query: A Marchverse Short Story by K. A. Cook. Cover shows a cemetery at night, with various tombstones in the foreground, surrounded by grassy rises and green bushes, with a tumbledown stone fence and trees in the background. A lit candle sits on the ground at the front of the cover, showing a glow of orange light illuminating grass and part of a tree branch. Cover and author credit are written in a white, fantasy-style text, the type bright against the dark sky and shadowed leaves.

Necromancer Mara Hill has waited weeks for the Thinning: the one night the dead walk freely amongst the living. Her wandering great-aunt, Rosie, was wise in the way of magic and the world, and Mara knows of none other to ask. Books and magic alike haven’t restored her fading love, and Benjamin Lisabet is too wonderful to risk losing. Why can’t Mara keep herself from falling out of love whenever the girl she yearns for dares love her back?

She’s sure that Aunt Rosie’s spirit will offer up needed advice. She just doesn’t expect a deluge of deceased villagers set on unravelling everything Mara knows about what it means to love and be in love.

Contains: A sapphic, lithromantic trans witch fearing her shape of love; a bisexual aunt who adores girls; an aro-ace trans brother armed with pokers; a wealth of casual queerness; and a world learning to be bold about its own diverse aromanticism.

The Mundane Progression of Premortem Colloquy

Cover image for The Mundane Progression of Premortem Colloquy: A Marchverse Short Story by K. A. Cook. Cover shows a cemetery in daylight with various tombstones in the foreground, surrounded by grassy rises and green bushes, with a tumbledown stone fence and trees in the background. A picnic basket sits on the grass at the front, filled with bottles, vegetables and a purple flower. Cover and author credit are written in a white, fantasy-style text.

After a night of revelations to her dead aunt Rosie and her living brother Esher, Mara Hill must dare another with Benjamin Lisbet. If she’s truly the woman Mara hopes, surely Benjamin will be receptive to a conversation of the “I love you and want to be with you, just not romantically” sort? Surely this afternoon won’t stray beyond Mara’s preparations of a picnic basket, chives, rehearsed speeches and less-rumpled clothing?

Yet her months of searching for magic to refresh her fading love means there’s too much she doesn’t know about Benjamin. Too much Mara needs to know to hold this conversation without losing Benjamin’s friendship.

Mara thought speaking of her fading love under cover of dark difficult enough … but speaking of romance in daylight is another challenge entirely.

Contains: A sapphic, lithromantic trans witch making a misstep in the quest to build a love that honours her nature; an autistic, idemromantic schoolmarm with coeliac revealing her struggles in building romantic relationships with allistic women; and a conversation concluding in utterances of the word “when”.

Love Spells, Rainbows and Rosie

Cover of Love Spells, Rainbows and Rosie: A Marchverse Short Story by K. A. Cook. Cover shows a wooden door set into a wooden wall with a paper sign on the front reading Mara Hill, Witch. Stones, bones and feathers tied to string dangle over the top of the door, along with a creeping vine, and two potted plants sit on either side of a wooden doorstep--white daisies in a bag and orange roses in a brown pot. A straw broom rests propped against one side of the door and a piece of torn paper reading Absolutely No Love Spells sits on the step. Text is written in a white, handdrawn, fantasy-style type.

Lovers’ Day is good trading for a witch who deals in enchantments, ribbons and dyed flowers. For Mara Hill, it’s long been a holiday of tedious assumptions and painful conversations–once best handled by casting petty curses on annoying customers. This year, when a girl asks about love spells, it may be time to instead channel a little Aunt Rosie.

Contains: A sapphic, allosexual, lithromantic trans witch enduring the most amatonormative holiday extant–in a small town still in want of open conversations about aromanticism.

What Makes Us Human

Cover image for What Makes Us Human: A Marchverse Short Story by K. A. Cook. Cover shows an archway set into a stone wall, the wall covered by a dull green creeper. A small peach sphere of light glows underneath part of the creeper at the top of the archway. Inside the archway is another stone wall behind a courtyard comprised of a few rocks, two spindly trees and a striped purple cushion. Title and author credit are written in a white, fantasy-style text, the type bright against the grey background.

Moll of Sirenne needs prompts in their girdle book to navigate casual conversations, struggles to master facial expressions and feels safest weeding the monastery’s vegetable gardens. Following their call to service, however, means offering wanderers in need a priest’s support and guidance. A life free of social expectation to court, wed and befriend does outweigh their fear of causing harm—until forgetting the date of a holiday provokes a guest’s ire and three cutting words: lifeless and loveless.

A priest must expand a guest’s sense of human worth, but what do they do when their own comes under question? Can an autistic, aromantic priest ever expect to serve outside the garden? And what day is it…?

Contains: A middle-aged, agender priest set on defying social norms around love; an alloromantic guest with a journey to undergo in conquering her amatonormativity and ableism; an elderly aromantic priest providing irascible reassurance; and the story of how Moll became Esher’s guiding priest.

Those With More

Cover image for Those With More (and Other Suki Stories) by K. A. Cook. Cover shows a garden growing against a grey stone wall, with trees and blue sky visible behind it. Garden includes several layers of beds filled with palms, ferns and yellow and red orchids. The foreground shows a green lawn with a moss-covered tree-trunk and two translucent blue mushrooms. Cover and author credit are written in a white, fantasy-style text.

Suki Lewis has always known what she wants–or, more correctly, what she doesn’t want. She also knows that a good woman of Freehome, deserving of her mother’s uncritical love, wants something she can’t fathom or mimic: a stable, lasting romantic relationship.

She can’t safely stay, but leaving means surviving the challenges of priesthood, her mother’s abuse and the belated finding of a name for her differences: allosexual aromanticism.

Those With More collects four stories showing Suki’s lifetime navigation of her belief, family, community and identity.

Contains: The adventures of a sharp-tongued trans, aromantic protagonist navigating other people in exploring allosexual aromanticism, her priesthood and the pressures of amatonormativity, love, emotional abuse and family.

Love is the Reckoning

Cover of Love is the Reckoning: A Marchverse Novelette by K. A. Cook. Cover shows a cartoony-styled indoors tavern scene with a lot of different brown wood textures: wood panelling on the walls, wood floor, a square wood window frame, a crooked wooden table in the centre of the image and a wooden stool and a wooden barrel sitting in front of it. A candle stub sits on the window frame, looking out to dark green trees against a star-lit sky. The table bears beer glasses, a green wine bottle, a brown bottle of spirits, orange liquid in a glass, a plate of biscuits and a plate bearing a wedge of yellow cheese with red rind. A wooden log rests against one side of the window frame, an unsheathed longsword against the other, and a sack sits against the wall underneath the table. A cage bearing a twisted, vine-style plant sits in the top right-hand corner, above the table. Text is written in a white, handdrawn, fantasy-style type.

Esher Hill left his home and kin a crying wreck of a man, too depressed and dysphoric to care what his people make of him. If he’d had his way, that would have been the end of it.

His sister Mara, the village witch, made sure he didn’t.

Two and a half years later, Esher owns two dogs, a blade, a career and a new body—the shape of masculinity he always felt he should be. A miracle Mara refuses to explain. A miracle the Sojourner’s priests reject and fear. A miracle, say the Grey Mages, that cannot exist without something precious sacrificed in exchange: a soul.

Returning home in search of his sister and the truth isn’t just a matter of enduring stares, whispers, explanations and the condescending pity from those he left behind.

Love holds edges sharper than Esher’s sword, for nobody wins but demons in the sale of souls.

Contains: A graysexual, aromantic trans man fighting his own mind; the trans sorcerer of a sister who loves him; a grizzled aro-ace mayor and barkeep; and a heavy reliance on schemes and manipulations in the absence of simple communication.

Ringbound

Cover image for Ringbound by K. A. Cook. Cover shows an eight-pane window set into a cream brick wall above a stone and wood table or bench, with various items sitting on the table--candles in vases, bottles, a large shell, a white vase filled with flowers, two gold rings propped against the vase. The text is written in brown fantasy-style handdrawn type. Through the window, scrubby green trees and a blue-green sky is visible. The subtitle "a kit march short story" is written in white handdrawn type.

Kit can’t find anything unfair about the contract or the man, so why is the ring so heavy?

Kit March is a signature away from marrying the man who loves him. He should be delighted, but for reasons he doesn’t understand and can’t explain, his future with Lauri weighs upon him. What is a magician to do when no script extant has words for the confusion he feels?

Contains: A gay, transgender, aromantic autistic struggling with the difficulty of wedding the gay, cis man who loves him.

Absence of Language

Cover image for Absence of Language by K. A. Cook. Cover shows a red brick wall behind a wooden step, a red curtain covering half the wall, with a small wooden bench sitting on step. A chair, a hat and a squarish bag sit in the foreground of the image and a fabric banner hangs on the wall in the background. An assortment of coins and buttons litter the floor, and two yellow roses are shown floating inside clear bubbles. The scene looks like a magician's performance area or stage. The subtitle "a kit march short story" is written in white handdrawn type.

Four months ago, Kit March abandoned his fiancé without even a note of explanation for a deserving man.

Leaving Lauri should have freed him from the pressures of romantic expectation, so how does a talented magician end up performing flash magic for buttons and hairpins in Raugue’s worst tavern? Kit doesn’t know and doesn’t care, as long as he can keep drowning guilt in beer and spellworking. As long as he can keep not thinking!

When a stranger offers the word “aromantic” followed by an opportunity to join a dangerous quest to the Gast, Kit may have more distraction than he can survive—and more comprehension than he can navigate.

Contains: A transgender, allo-aro gay man riddled with guilt for fleeing his fiancé; an aro-ace man offering the gift of language; and the prospect of a journey to a place that will forever change Kit and his new companion.

Old Fashioned

Cover image for K. A. Cook's "Old Fashioned: an Amelia March Story". Cover has a vector image cartoony style picture of a bedroom with rough-made furniture--bed, stool, chest of drawers, a shelf. Magical items like bone amulets, glowing mushrooms and spell bottles are hanging from or sitting on the shelf. The title and author credit are written in red and white handwritten type.

Amelia March is tired of suitors breaking into her house after dark to express their undying love. Sure, it might be the fashion, but whatever happened to getting to know someone first? Why won’t they listen to her when she says she isn’t interested? And what does it mean that her cousin Kit thinks there’s a word for her approach to romantic relationships?

Old Fashioned is a story about finding words and the importance of fake cobwebs in the windows.

Contains: An irascible, trans, autistic witch learning the word “demiromantic”; her infuriating, gay, aromantic, trans cousin delivering an explanation; a black cat with an unimaginative name; and the bewildering actions of the alloromantic.

More info: Set a couple of years after Ringbound and Absence of Language, in which Amelia knows nothing of what happened to Kit … or how much he’s lying to her.

Love in the House of the Ravens

Cover image for Love in the House of the Ravens by K. A. Cook. Cover shows a wooden bed set against a stone wall, with filmy curtains draped over the wall and bed. A translucent room divider is set off to the side, with a chest and boxes visible through it. The subtitle "a marchverse short story" is written in white handdrawn type. Title and author text is written in brown handdrawn type.

After seven years in Rajad, Darius has fallen out of love with the unattainable and avoided falling in love with the companionate. If he lives at arm’s length from passion, isn’t that better than risking the abuse his fellow mercenaries so eagerly deliver to an autistic who can’t quite fit in? But when the right person suggests a romantic relationship, “yes” still won’t grace his tongue, and Darius hasn’t the least idea why. He likes Harlow. Shouldn’t he want to love her?

The only thing he can do is turn to his old friends and rescuers, the Ravens. They have an answer if he can stumble his way through asking the question … but it may upend every truth Darius thinks he knows about himself.

Contains: An unknowing aromantic who isn’t prepared for his friends’ conclusion about his identity; a verbose eldritch entity stuffed in a saddlebag; an alloromantic trans man who will always be there for his queerplatonic partner; lots of casual polyamory; and some of the many ways autism impacts conversation and connection.

More info: A novelette about the problems of being aromantic and autistic both set between the (less aromantic, just as autistic) books Certain Eldritch Artefacts and The Adventurer King.

One Strange Man

Cover of One Strange Man: A Marchverse Short Story by K. A. Cook. Cover shows a wooden door, bolted shut, set into a stone wall, with dangling ivy and climbing roses obscuring the wall and part of the door. The ground in front of the door is brown earth and has a thin-bladed green bush growing in front of it. A glowing white marble sits on the earth by the base of one of the roses on the bottom left-hand side of cover. Text is written in a white, handdrawn, fantasy-style type.

How can the want for another person make an intelligent man gift something so precious?

When Akash’s former lover refuses to return a family heirloom, Darius knows only one way to help his mate—even if it means ignoring several laws in the process. The magic he mastered in surviving the College and the mercenaries has surprising utility in the art of larceny, at least once he gets past the stomach-knotting anxiety. When Darius makes the mistake of asking Akash why, however, getting caught in a stranger’s third-floor bedroom seems like nothing compared to comprehending the mysteries of romance and friendship.

Contains: A trans, abrosexual, aromantic autistic breaking the rules for the friends he loves; a queer alloromantic trans man and a pansexual, aromantic genderqueer in a QPR; and an acceptance borne from a midnight flight through the streets of Rajad.

More info: A sequel on the subject of aromantic acceptance to Love in the House of the Ravens.

Bones of Green and Hearts of Gold

Cover image for Bones of Green and Hearts of Gold: Non-Asexual Aromantic Stories by K. A. Cook. Cover features black handwritten type on a mottled light blue background. Cartoon images of arrows--in four different styles--sit in diagonal rows across the cover, the fletching and shafts coloured in the stripes of the green/light green/white/yellow/gold allosexual aromantic pride flag.

A princess flees her betrothed in search of a witch willing to entrap her within a tower. Rowan yearns to be out and proud as an aromantic, but other people’s misapprehensions—and his own anxiety—hamper his quest. A woman expresses her wish for unfettered sexual intimacy, despite her mother’s desperate romantic expectations. For another pansexual, the route to freedom from amatonormativity lies in accepting monstrosity’s fur and fangs. Suki finds aromantic freedom inside the priesthood’s cloisters, but even a rebellious life leaves her at a loss when ministering to her own. And the words “allosexual aromantic” offer a struggling magician hope of a new road—but one not without its dangers.

Bones of Green and Hearts of Gold collects twenty fantasy and contemporary stories celebrating the many ways aromanticism need not always pair with asexuality.

Contains: Allosexual aros; aros without reference to sexual attraction identities; transgender and non-binary aros; queer aros; autistic aros; neurodiverse aros; loveless aros; aro magicians; and an aro great-aunt who won’t let death stop her from dispensing needed advice.

Luck of the Ball

Luck of the Ball: A Nine Laws Novelette cover by K. A. Cook. Cover features scenery of trees at night against a grey stone wall, candlelit lanterns hanging from the branches. Grass and vines grow in the foreground. Text is set in a white, slightly-curving serif type; white curlicues matching the text, set in each corner, form a broken frame around the text.

A coven of gentlewoman witches seems like the perfect place for Luck Vaunted to hide from hir powerful brother, father and husband. Even better, the upcoming Guildmeet ball offers the new Luck the perfect chance to experiment with genderlessness, magic and sex, if only ze can avoid more sorcery-revealing accidents. Sure, the witches welcome hir with open arms, but after hir twin’s betrayal, how can ze risk trusting anyone but hirself?

When hir brother attends the Guildmeet, a lover expects romantic intimacy and a quest of boots threatens to reveal hir deceit, Luck can no longer outrun hir monsters. Hir only chance of escape: the Westhold coven. But how does ze ask, when ze has lied to them, too?

Some fairy-tale families are formed by blood or marriage. Others are formed by aromantic witches defending each other against respectability, amatonormativity … and the sorcerer potentate’s heir.

Contains: An allo-aro genderless person on the run from hir family; a coven of four aromantic-spectrum witches ignoring all the rules about gender and relationships; and a version of Cinderella that rejects the amatonormativity of Disney’s fairy godmother’s ignoring familial abuse until it prevents the heroine from attending a dance to find a husband.

Witches of Fruit and Forest

Witches of Fruit and Forest: Nine Laws Short Stories cover by K. A. Cook. Cover features scenery of a dense forest of green and gold leafed trees, the ground underneath covered by thick clusters of grass and yellow-flowering shrubs. Background shows pink flowers peeking through the foreground shrubbery. Text is set in a white, slightly-curving serif type; white curlicues matching the text, set in each corner, form a broken frame around the text.

All know that acceptable sexual attraction walks in twain with romantic love and intimate partnership. Sorcerers’ wives know that their daughters must marry to further power’s cause. Royals know that a kingdom’s prosperity demands the happily-ever-after of monogamous marriage and future heirs … and if romance here cannot be found, it must at least be feigned. In a world so constrained, where can a princess give language to her aromanticism? Where can a baker avoid his mother’s insistence that he love and wed? Where can a villager celebrate that dreaded, threatening possession of desire untethered from love?

Where else but in a witch’s company?

Witches of Fruit and Forest collects all Nine Laws short stories: tales of magic and fantasy exploring aromantic identity.

Contains: Magic, vegetable gardens, a riot of blackberry, abundant queerness, human and not-quite-human aro witches, loveless and non-monogamous protagonists, and stories like to end with rebellion–or gloriously casual sex.

The Girl and Her Unicorn

The Girl and Her Unicorn: a Nine Laws Short Story cover by K. A. Cook. Cover features scenery of a dense forest of green and gold leafed trees surrounding a pond. A white unicorn stands on the edge of the pond, its hooves surrounded by mist. Faint rays of light shine down from a night sky onto the pond. Text is set in a white, slightly-curving serif type; white curlicues matching the text, set in each corner, form a broken frame around the text.

Ponder Sheafed can’t stop asking questions. Ze isn’t the girl others presume hir to be. Ze won’t become a wife or let a wedding’s absence stopper hir lust. Ze isn’t good, so maintaining hir kinsfolk’s high regard demands a complicated dance of stealth, secrecy and untruth. Ponder does, however, own some ability in deception … so when tragedy befalls hir family, how does ze explain that–despite all appearance to the contrary–ze can’t trade hir life’s service for a unicorn’s magic?

Only virtuous maidens may enter the forest to seek a creature as pure as a unicorn. Returning home empty-handed avoids provoking Father’s rage by confessing unacceptable truths, so what options has ze other than embarking upon a farcical quest for hir family’s salvation … and dreading the failure to come? No unicorn can ever grace an unrepentant liar!

Ponder isn’t good. But neither, ze discovers, is the unicorn.

Contains: A genderless, non-partnering allo-aro who speaks lies to live hir truth in a village that prizes a girl’s goodness above all else … and a unicorn whose duty to humans has been wildly misrepresented.

K. A. Cook is an abrosexual, aromantic, agender autistic who experiences chronic pain and mental illness. Ze writes creative non-fiction, personal essays and fiction about the above on the philosophy that if the universe is going to make life interesting, ze may as well make interesting art. You can find hir blogging at Aro Worlds and running the Tumblr accounts @aroworlds and @alloaroworlds.

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