Story Collection: Witches of Fruit and Forest

Banner for Nine Laws: Aromantic Spectrum Fairy Tales. Image features a tree in the foreground, lanterns hanging from its branches, against a background of heavily-overgrown grey stone walls and archways leading into smaller courtyards. Vines and ivy cover the walls, archways and steps; an array of grasses grow around the bases of trees and walls. 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.
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.

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Fiction: The Lies Lovers Tell

Banner for Nine Laws: Allosexual Aromantic Fairy Tales. Image features a tree in the foreground, lanterns hanging from its branches, against a background of heavily-overgrown grey stone walls and archways leading into smaller courtyards. Vines and ivy cover the walls, archways and steps; an array of grasses grow around the bases of trees and walls. 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.

For a hundred years, I am bound to a witch’s servitude. I’m not free to be in love. Will you accept this?

Thorn Bloodvine passes hir days trapped in a tower. Well, ze does if “trapped” encompasses “climbing out the window and down the beanstalk whenever the whim takes hir”. Magical wards and a wall of brambles surround hir prison, but neither prevents hir from tending hir garden … or the local youths from raiding hir strawberries. A fearsome witch does dwell within said tower, but hir magic is best suited to creating oversized vegetables. Quirks aside, Thorn laid hir truth at hir lover’s feet before they took to bed: ze cannot become Fortitude’s partner.

But when Fortitude speaks one simple word, Thorn’s carefully-ordered world falls apart. For it isn’t just a fairy story that prevents hir from becoming a woman’s happily-ever-after.

But no matter hir honest explanations, Thorn’s lovers come to expect something hir barren heart can’t feel and hir straightforward mind can’t mimic.

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Fiction Collection: Loveless Aro Friendly

Handdrawn illustration of a green meadow foreground with green and yellow pine trees growing against a mint-hued sky. Scene is overlaid with the grey gradient/green/light green/green/grey gradient stripes of the loveless 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.

As an autistic, loveless aromantic writer who prefers that my feelings of attraction, connection and affection not be contextualised with a word that doesn’t always feel applicable, I thought Aro Week the perfect time to collate those stories written for aromantics like me. This post lists my works with loveless aromantic protagonists and those that don’t presume an aromantic protagonist’s ability to love and/or label their experiences as love.

My other aro works can be found on my fiction page.

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.

More info: Loveless aromantic narrating protagonist.

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Book Edition: The Girl and Her Unicorn

Banner for Nine Laws: Allosexual Aromantic Fairy Tales. Image features a tree in the foreground, lanterns hanging from its branches, against a background of heavily-overgrown grey stone walls and archways leading into smaller courtyards. Vines and ivy cover the walls, archways and steps; an array of grasses grow around the bases of trees and walls. 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.
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.

Continue reading “Book Edition: The Girl and Her Unicorn”

Fiction: The Girl and Her Unicorn, Part Three

Banner for Nine Laws: Allosexual Aromantic Fairy Tales. Image features a tree in the foreground, lanterns hanging from its branches, against a background of heavily-overgrown grey stone walls and archways leading into smaller courtyards. Vines and ivy cover the walls, archways and steps; an array of grasses grow around the bases of trees and walls. 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.

You may learn, given time, that ‘good’ is but sunlight and seafoam … and all else is sapience.

Continue reading “Fiction: The Girl and Her Unicorn, Part Three”

Fiction: The Girl and Her Unicorn, Part Two

Banner for Nine Laws: Allosexual Aromantic Fairy Tales. Image features a tree in the foreground, lanterns hanging from its branches, against a background of heavily-overgrown grey stone walls and archways leading into smaller courtyards. Vines and ivy cover the walls, archways and steps; an array of grasses grow around the bases of trees and walls. 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.

Why must ze learn hir lesson only after ze has been ordained to uselessness?

Continue reading “Fiction: The Girl and Her Unicorn, Part Two”

Fiction: The Girl and Her Unicorn, Part One

Banner for Nine Laws: Allosexual Aromantic Fairy Tales. Image features a tree in the foreground, lanterns hanging from its branches, against a background of heavily-overgrown grey stone walls and archways leading into smaller courtyards. Vines and ivy cover the walls, archways and steps; an array of grasses grow around the bases of trees and walls. 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.

Ponder knows that consequences must someday claim hir. Ze just didn’t expect Mama to have to pay the price.

Continue reading “Fiction: The Girl and Her Unicorn, Part One”

Hallo, Aro: Pillar – K. A. Cook

Banner for Hallo, Aro Allosexual Aro Flash Fiction. Image features dark black handwritten type on a mottled green background. Diagonal rows of arrows with bands, heads and fletching in the colours of the green/light green/white/yellow/gold allo-aro pride flag cross the image above and below the text.

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: A allo-aro woman who doesn’t choose marriage and children … and a society that expects she use her time in service to those who did.

When fog creeps and moon fades, the desperate seek out gods few dare name.

Continue reading “Hallo, Aro: Pillar – K. A. Cook”

Story Collection: Spirits Most Singular

Banner for Spirits Most Singular: Stories For Non-Partnering Aros. Image features dark black handwritten type on a mottled light purple/lilac background. Diagonal rows of arrows with bands, heads and fletching in the colours of the green/light green/white/grey/black aromantic pride flag cross the image above and below the text.
Cover image for Spirits Most Singular: Stories For Non-Partnering Aros by K. A. Cook. Cover features black handwritten type on a mottled light purple/lilac 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.

Princess Constance of Blackvale hopes a witch’s entrapment proves less onerous than a royal betrothal. A ring weighs heavy upon a gay trans man who knows no acceptable reason to avoid marrying the man he loves. Suki faces condemnation for scorning her lover’s courtly intentions. Esher Hill’s dogs make his days worth living, but his cousin believes marriage the cure to his depression. Priesthood offers Moll community and purpose in a life eschewing love until their usefulness–and their humanity–comes under question. A baker risks unknowable powers rather than submit to the relationships his mother deems necessary.

When society celebrates partnership as obligate duty, unquestionable necessity and saving grace, what must these aromantics sacrifice to build a world without it?

Spirits Most Singular collects sixteen fantasy and contemporary aromantic stories that don’t centre on a wish for or possession of a partner.

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How to Ally: Writing Allo-Aro Characters, Part Two

Handdrawn illustration of a yellow pasture against a background of hills and sporadic trees. Scene is overlaid with the dark green/light green/white/yellow/gold stripes of the allo-aro pride flag. The text Aro Worlds Discussion Post sits across the image in a black, antique handdrawn type, separated by two ornate Victorian-style black dividers.

Yesterday, I began a two-part series on writing allo-aro characters as an ally. To conclude Aro Week, I’m going to examine fictional tropes in want of considerate handling, explain how to contextualise your work without contributing to allo-aro erasure, and discuss the vital role of ally in “writing allo-aro characters as an ally”.

Many tropes regarding romance, relationships, intimacy and love cause aromantics harm. Others erase our aromanticism when treated as universal to all. Some are obviously problematic, like settings in which all characters possess destined soulmates; others require analysing the ways fiction shapes amatonormativity and amatonormativity shapes fiction. Tropes like “friends to lovers” may be loathed by some aromantics but tolerated or even appreciated by other aros! To discuss the use and pitfalls of all these requires more words and time than I possess, so I’m (today) focusing on tropes that either specifically impact allo-aros or are overlooked in our conversations about representation.

Please, especially when writing aromantic-spectrum characters in intimate relationships, examine your story with an eye for the ways amatonormativity and antagonism may shape your character arcs and plot. Many of the tropes we take for granted in the fictional journey towards a happily-ever-after ignore aromantics’ existence at best–and aren’t covered in this already-long post.

As this is an exercise in continued verbosity, you may want to grab a drink before strapping in for another long read!

Continue reading “How to Ally: Writing Allo-Aro Characters, Part Two”