Zonová has worked as an art critic and a curator. She made her literary debut when she turned forty with her collection of short stories, Červené botičky (Red Shoes, Petrov, 2001), which is set in the former Sudetenland of the Jeseník district. Academic Vladimír Novotný wrote of the novel that, “The meaning of these concisely written stories does not merely lie in her description of the atmosphere of a half-forgotten region. Without doubt its authenticity, along with its idiosyncratic inhabitants – people often stigmatized with tragic or tragi-comic fates – lends the individual scenes a unique atmosphere, though this in no way makes it regional or regionalist literature.”

There then followed the novel Za trest a za odměnu (As a Punishment and Reward, Torst, 2004), which was acclaimed by the critics. “It is a grand historical canvas on which the author presents the lives of four nationally, socially and generationally different characters. They are used to illustrate the tragedy of the 20th century against the backdrop of the Moravian Sudetens during the Second World War to the present day. The author masterly describes the Czech-German, personal, erotic, social and familial relationships, making her one of the most distinctive voices in Czech literature today.”

In the magazine Respekt, Vladimír Karfík characterised the novel Boty a značky (Shoes and Brands, Torst, 2007) as “very cultivated storytelling despite all the racket.” At the centre of the book is the testimony of a disappointed, tired and abandoned man. In the magazine Reflex, Michaela Holečková warned readers that, “As with the writer’s previous books, because of its constant flashbacks and random associations it is necessary to give it your undivided attention. Otherwise, this excellent writer’s new book, which is filled with perversions, but also with loneliness and misunderstanding, could easily escape your notice.”

In her last novel to date, Lorenz, zrady (Lorenz, Acts of Betrayal, Větrné mlýny, 2013), Anna Zonová describes the rise and fall of a leader in a vaguely defined forest community. “Zonová thinks about her writing through to the smallest details, both in terms of form, when she might omit words or conceal the subjects in order to trick the reader, and in terms of content. She does not say everything, or at least not in a way which is simple and completely understandable. It is necessary to decipher her texts, to surrender to them. The reward is participation in the perfect analysis of an act of betrayal. People begin with betrayal and end with the betrayal of their own memories,” wrote Klára Kubíčková in a review for the newspaper MFDnes. Th chilling irony suggests a parallel between our environment and that of the novel.