Fiction: 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.

Vendors: [Smashwords]

Formats: [PDF] | [EPUB]

Length: 1, 309 words / 4 pages.

Content advisory: Please note that this story contains non-explicit sexual references. It’s also a story about storytelling, so it refers to common fairy tale structures that contain misogyny, heterosexism and amatonormativity, along with depicting society’s unquestioning reaction to these structures. There’s no romance beyond the mention of other characters in romantic relationships. It’s also written in second person.

Note the first: This wasn’t meant to be a thing. I was walking to an appointment while an idea popped into my head. Since I liked how it read after I’d finished scribbling (while sitting in the waiting room), and since there’s nothing stopping me from editing, formatting and designing a digital book, well…

Words, the right ones, can tell you who you are.

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Fiction: The Adventurer King

Cover image for The Adventurer King by K. A. Cook. Cover features a red leather-bound journal sitting on a wood panel background, like that of a tabletop or floor, with the text sitting on top of the book image in a gold fantasy-style handdrawn type. Objects sit on top of the book cover: a blue pen with a gold nib dripping ink, a screwed-up piece of white paper, a cream scroll with a green seal, a cream and silver compass, and a piece of rope. A grey single-edged sword blade sits underneath the book, and black handdrawn type atop the blade reads "an efe and darius story". The images have a cartoony, vectory feel.Seven years ago, Darius Liviu met a talking sword belt in the Great Souk, an eldritch being who changed his life forever. In that time, he has learnt something of the sword, mastered strange magic and survived dangerous jobs, but while he has friends in Rajad, he still feels out of place—too divergent to be welcomed and accepted as mercenary and magician.

When an unexpected meeting with potential employers goes wrong, his first instinct is to flee. But a wandering monarch, Efe Kadri, has an offer that might provide the certainty for which Darius has been searching, if only he has the courage to say yes…

Vendors: [Smashwords]

Formats: [PDF] | [EPUB]

Length: 11, 350 words / 40 pages.

This is the last of the Marchverse rewrites, aside from, eventually, Kit March itself. At the moment, I have the bones of a story that comprises the first half of Darius and Efe’s doings in Ashad, and an earlier story, now called Blood and the Ravens, that will cover Darius’s beginnings with Eren Adalet and show his connections with the Ravens, because that is going to become more important later on. There’s a wealth of story material in Darius’s years with Efe and Aysun should I ever find myself at a want for more to write, but I see The Adventurer King as the first in a rough trilogy of novelettes that form the beginning of Darius and Efe’s relationship, and then I’d like to stop for a little while.

In terms of timeline, The Adventurer King takes place seven years after Certain Eldritch Artefacts and seven years before Tes arrives at the College. Darius has been six years a student and one year a mercenary.

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The Unnatural Philosophy of Kit March: Maker

Cover image for K. A. Cook's 'The Unnatural Philosophy of Kit March'. Vector/cartoon styling of a creepy folly/shack/treehouse with various gothic accoutrements and a crow or raven perched on the roof. Folly is surrounded by more vector images of trees, bushes and scrub set on a cartoony green-hill background. Typeface for author and title credit is white stroked with black. The whole thing is very flat/one-dimensional and looks like a still from an 80s cartoon.Tes Alden, collector of words, rescuer of books and counter of objects, knows ze isn’t like everyone else. This wouldn’t be such a problem if everybody else didn’t struggle with it. Hir mother prays a run-down school in the middle of nowhere may be the best place to stow hir brand of peculiarity, and Tes has nowhere better to go.

Darius Liviu lost a limb and his lover in the hell of Mul Dura. He spent the last three months as a guest of the Greensward, crafting a jointed hand from elf-sung wood and trying to ignore the mutterings of the ghost that haunts him. Now, he returns to the College to take up the second-most dangerous job open to a magician: teaching.

Tes just might be a magician in the making, if ze can survive adventures in alliterative magic and hir own lethal curiosity. Darius, though, keeps a secret that makes the usual problems of overgrown rhubarb, basilisk hordes, verbose eldritch objects, shrieking purple monkeys and cauliflower explosions look like nothing at all.

The elves are coming, and nobody fears elves more than Kit March.

Maker: Darius chose Tes’s presence over his health, a gift for which books, stones and homewares are no just recompense. How can ze repay a magician when ze isn’t sure, despite his words, that ze still belongs at the College?

Chapter count: 10, 415 words.

Content advisory: Darius uses the word “cripple” to describe himself in a way that’s more self-hatred than reclamation and “crippling” to describe the loss of his hand. Tes thinks hirself wrong for being aro-ace, which is debunked in non-subtle references to the stereotype of autistics being perceived as incapable of love by allistics. Both use “broken” to refer to themselves. There are also discussions of blood magic, sacrifice and the gnomes used as weapons/torture devices. It’s implied over several paragraphs that the Lord mutilated Darius as a means of imprisoning a multi-disciplined magic worker via limiting his ability to pay for magic. Tes’s statement about Darius no longer being a soldier is also cruel and ableist to say to a disabled man, but ze doesn’t realise this. Also, I reference sexual assault, ableism and allosexism in my first note.

Note the first: These days, I’m ace. Pan aro-ace. I suspect I feel aesthetic attraction, miscategorised as sexual because that’s what society says you’re supposed to feel. Unfortunately, being a-spec, autistic and otherwise disabled is an uncomfortable thing with activists using the words “desexualisation” and “dehumanisation” to deny me representation and the visibility/knowledge it gives. If I’d known I was aro-ace, I wouldn’t have found myself trying to perform the cisheteronormative and amatonormative relationships that put me—an autistic who struggles to communicate no in ways allistics hear and respect—in violating situations. It matters to me that Tes gets words sooner rather than later, and it matters to me to be able to show a journey through Darius that isn’t immediate recognition of one’s aromanticism, a belated recognition coloured by an autistic’s position in navigating social norms.

Note the second: Yes, the words “asexual” and “aromantic” don’t fit the linguistic approach used for other terms in narrative. (Although there is a point in the construct of “same” (cis) and “similar” (allistic) as used by trans autistics, namely that autism and gender for us are inseparable; I haven’t yet had the space to show how this language is seldom used by allistic trans people.) I find there is some awareness of “autism” and “trans” (for all that we autistics know the dangers of awareness) when I speak them to others, but “asexual” was only recently added to the dictionary. Hence, I decided to use the real words, representation over consistency, as they’re too seldom spoken even when we do exist as characters. (Although “autism” as a word does exist in Amelia’s medical texts, and should my shoulder let me work on Conception, you’ll find out why Amelia and Kit don’t use it.) In the rewrite, I probably won’t use fantastic terms at all: if a horse is called a horse in fantasy, and a sword a sword, a trans person can be called a trans person. It says something about being trans (internalised cissexism) that I did feel, on starting to write this, that it is too modern a word to work, but why should it be?

Maybe you’ll know, one day, that memory names.

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