Cendre et la Couronne – Part I

Story Written By
Queen Aveline Beaumont,
Crown Steward Cinder Dubois, Duchess Claudine Delisle,
& Madame Esmée Étoile

Told Through the Voices Of
Queen Aveline Beaumont
& Crown Steward Cinder Dubois

Visuals & Imagery Conjured By
Liora Marivelle, Céleste Rousselle,
Théa Lavellan, Éline Vervain,
Maëlle Étoilemont, & Scott Bryant

Spellwork & Whispered Magic By
Madame Esmée Étoile

With steadfast loyalty, our story is shared by
Scott Bryant, at the royal request of Queen Aveline Beaumont, Crown Steward Cinder Dubois, Duchess Claudine Delisle,
& Madame Esmée Étoile

I believed my story would be written for me—a crown pressed to my head, my steps measured by expectations, my words never truly my own. But I learned, sometimes through fire, that the world is not balanced by silence.”
— Queen Aveline Beaumont

“They called me Cinder because I lived among the ashes. But even from the soot, I learned to see sparks.”
— Crown Steward Cinder Dubois


Part 1: The Beginning

The Whispers

A digital painting in a realistic, painterly style captures a cinematic moment from a fairy tale. A young French woman in her mid-to-late 20s, Cinder Dubois, stands barefoot on a sun-dappled path winding through a wild lavender field nestled in the foothills of a forested mountain valley. The lighting is warm and golden, late afternoon sun casting soft shadows. She has pale olive skin, expressive dark eyes, and long wavy brown hair worn loose, caught in a gentle breeze. She wears a worn, earth-toned woolen dress cinched at the waist with a simple cord, and a brown apron tied around her waist. Her expression is thoughtful and quietly resilient, as if she is hearing something distant or preparing for an unseen challenge. The scenery around her is lush and grounded in fairy tale realism—pine trees with twisted limbs, clusters of lavender in bloom, rough stone beneath her feet, and a faint stream winding through the forest below. The atmosphere is richly cinematic, evoking a quiet strength and solitary resolve, with a warm filmic tone and shallow depth of field to enhance the emotional intimacy of the scene.

The valley breathes, though no one else seems to hear it but me, Cinder Dubois. The mistral—Provence’s fierce southern wind—threads through the branches, carrying whispers soft and lilting, like the chansons I heard in the marché. The rivers hum like ancient melodies, their rhythm alive with stories I cannot yet unravel. The air carries hints of lavender and wild thyme, as though the land itself is weaving its song into my senses.

My mother once told me the land speaks to those who listen—not in words, but in rhythms.

Balance, my little Cinder, she’d say, is more than a thing to see. It’s something you feel, like the rise and fall of your own breath.

I didn’t understand her then. But now, when the breeze twists through the hills, I sense its quiet questions—questions I can’t yet answer, though I feel them waiting in the soil beneath my feet.

Stepmother & Stepsisters

A haunting, cinematic image in the style of a fairy tale film still, set in a richly decaying French château from the late 18th to early 19th century. Three French women in period attire are captured in a tense, emotionally complex moment. At the center, a stern older woman in her early 50s sits in an ornate carved wooden chair with upright posture, dressed in a high-collared burgundy gown with black lace trim. Her silver-gray hair is pulled back tightly, and her expression is cold and unyielding. Behind her hangs a faded, oval-framed portrait of a long-dead patriarch. To her left, one stepsister in her late 20s sits in profile on a wooden chair, turned slightly away in disinterest or defiance, wearing a muted rust-colored gown. To the right, the other stepsister, also in her late 20s, stands near a cracked oval mirror, her reflection fragmented. She wears a worn reddish-brown dress and looks downward, her posture uncertain or reflective. In the foreground, on a side table, a pair of worn, embroidered slippers suggest faded wealth or a lost past. The walls are peeling, the light golden and natural, filtering through tall, grimy-paned windows draped in faded brocade. Dust floats in the air, and the mood is tense, painterly, and richly atmospheric—evoking a story of control, decay, rivalry, and forgotten elegance. Shot in a horizontal composition, like a still from a live-action dark fairy tale adaptation. Filmic, realistic, and full of symbolic detail.

“Cinder, fetch more firewood,” Sabine snaps, not even looking up from the embroidery she mangles with her clumsy hands. “The salon is cold.”

“Cinder, fetch the butter,” Aimée commands, her tone syrupy but no less biting. “And be quick about it. My tartine is turning hard.”

Cinder.

The name isn’t mine, but it’s been pressed into me so deeply it feels like a scar. It clings to me like the ash I scrub from the hearth, smudging my skin until I can’t tell where it ends and I begin. The first time they called me that, I felt the sting of it, like hot embers against bare skin. Now, I hear it and feel nothing—nothing but the hollow ache of forgetting who I was before the soot.

But sometimes, I wonder—if I scraped away the ash, if I peeled off the name they’ve given me—what would be left? Would I find something worth holding on to, or would I be nothing but the fragments they’ve left behind? My mother’s journal tells stories of stewards, of people who listened to the land and found their strength in its whispers. Did they ever feel like this—small, broken, unworthy?

Today, I don’t answer when they call for me. Not because I’ve grown used to the name, but because it no longer defines me. I leave the broom behind and step into the forest. Letting the murmurs lead the way, I step into the feeling that I am no longer running away, but rather running towards something.

Esmée Arrives

A cinematic, hyper-realistic nighttime photograph set deep within an enchanted French forest. The lighting is warm and atmospheric, created almost entirely by lanterns hanging from a richly painted wooden caravan. The scene is horizontal and wide, with soft blue moonlight filtering faintly through tall pines, contrasting against the golden lantern glow.

Beside the caravan stands Madame Esmée Étoile, a wise Black French enchantress in her mid-50s. She has warm brown skin, silver-streaked tightly coiled hair wrapped in a deep red scarf, and sharp, kind eyes that reflect firelight. She wears a deep indigo dress embroidered with subtle vine and star motifs. The embroidery catches the lantern glow with a faint shimmer. Her satchel hangs at her hip, filled with herbs, vials, and small botanical tools.

Instead of casting magic, Esmée is performing a quiet nighttime task:
She stands at a small wooden table beside the caravan, calmly grinding herbs with a mortar and pestle. Wisps of fragrant steam rise from a small clay pot heated by a candle beneath it. The moment feels lived-in, ritualistic, and intimate — the work of a healer preparing something essential.

The caravan behind her is vardo-style, painted in deep blues with swirling gold constellations and vines. Lanterns hang from hooks along the curved roofline, casting warm, flickering light across the clearing. A soft trail of fireflies glows in the background, blending with floating dust particles illuminated by the light.

The forest around her is quiet and reverent — shadows softening toward her as if the woods recognize her presence. The atmosphere is magical but grounded, rooted in tactile realism: warm lantern light, textured fabrics, weathered wood, drifting smoke, and the crisp glow of nighttime air.

Shot in a cinematic, fairy-tale-realistic style with a painterly emotional tone, wide-angle depth, and rich contrast between golden lantern light and cool forest blues.

Madame Esmée Étoile’s caravan arrived early in the morning before dawn, its familiar rattle echoing through the valley. She disappeared into the woods before anyone could stop her, the red scarf trailing behind her like a flicker of flame. Her presence always feels deliberate, as though she’s weaving herself into the balance of the land. Some villagers muttered that she’s more spirit than human, her steps as light as the wind threading through the branches.

My mother’s journal mentions her in ways that now seem impossible to ignore.

Esmée, she wrote once, is not just a healer. She listens to the whispers better than anyone, as though she’s part of the land itself. Perhaps she always has been. She is both a guide and a guardian, a tether between us and the balance we often fail to see.

I used to think his words were just fanciful musings. Now, I wonder if they were warnings I failed to understand.

A Gilded Cage

HORIZONTAL CINEMATIC IMAGE — A cinematic, gorgeously shot, fairy tale realistic depiction of the Hall of Mirrors (La Galerie des Glaces) inside a Charles Perrault–era French palace. The perspective stretches endlessly in a wide horizontal view. The polished Carrara marble floors gleam under the warm golden light of countless cascading crystal chandeliers. Each chandelier hangs from a high, vaulted ceiling adorned with intricate baroque frescoes and coffered arches.

Gilded filigree, curling like vines, wraps around the mirrored panels that line the entire right side of the corridor. Opposite them, towering arched windows pour sunlight into the hall, refracting into soft rainbows on the floor and the mirrored walls. Between each mirror and window stand golden torchères and candelabras, ornately carved and glittering with crystal droplets.

The air seems perfumed with the faint scent of orange blossom, as though the opulence itself exudes warmth and delicate sweetness. The entire atmosphere radiates dreamlike majesty, French court elegance, and timeless splendor—fit for royalty, enchantment, or a pivotal moment in a fairy tale.

Shot in cinematic fairy tale realism, with a soft depth of field, gentle sun flares, and golden-hour lighting that evokes both awe and nostalgia.

The Hall of Mirrors—La Galerie des Glaces—is a hollow kind of beautiful.

Its polished Carrara marble floors gleam like still water, reflecting the intricate gold leaf filigree that coils along the walls and the cascading tiers of crystal chandeliers. The scent of orange blossoms lingers in the air, faint but deliberate, a subtle signal of the court’s prosperity carefully arranged by the attendants to dazzle the southern delegates from the Provinces Occitanes.

When the hall is filled with people—spinning, laughing, scheming—it hums with life, the air thick with perfume.

A cinematic, gorgeously shot, fairy tale realistic depiction of a young, royal French woman in her mid-to-late 20s, Princess Aveline Beaumont, inside a grand ballroom, preparing to host an upcoming ball. The setting is richly opulent—towering mirrors stretch to the ceiling, and crystalline chandeliers cast soft, golden light across polished Carrara marble floors. A faint reflection of Princess Aveline is visible on the marble beneath her, subtly reinforcing her solitude and inner turmoil.

She stands alone in quiet contemplation, her posture poised yet burdened, with her gaze distant—lost in thought, bearing the invisible weight of duty and inheritance as the kingdom's heir. Her gown is deep indigo, floor-length, elegant and understated, flowing gracefully with delicate silver embroidery tracing vines and stars that shimmer subtly in the candlelight. Her chestnut-brown hair is styled into a braided chignon with a pearl comb nestled in the back, while a few soft tendrils frame her refined, thoughtful face. Her expression is solemn, introspective, evoking both nobility and vulnerability.

The cinematic lighting heightens both the grandeur of the upcoming celebration and the quiet heaviness of her emotional state. This image captures the stillness before movement—the princess poised at the edge of duty and desire, in a ballroom that becomes a silent witness to her unspoken fears and regal restraint. Shot in naturalistic, Charles Perrault–era fairy tale style, with soft golden shadows, fine detail in fabric and architecture, and a moody, painterly tone.

But when it’s empty, as it is now, the silence feels like it’s watching me, Princess Aveline Beaumont.

The grandeur is too perfect, too precise.

It doesn’t feel like it belongs to me.

It never has.

In a week’s time, this hall will host the grand ball my mother, Queen Geneviève Beaumont, has planned for months.

She says it’s meant to honor me as the kingdom’s heir, but I know the truth.

It’s not about honor. It’s about marriage.

I glance at my faint reflection in the marble floors, the crown of duty already weighing heavier on my shoulders than any gold or gemstone. A steward must balance the needs of the land; a queen must balance the expectations of the court. But what if I cannot be both?

A horizontal cinematic film still depicting Queen Geneviève Beaumont, a French queen in her late 40s, seated alone at the head of a long, opulent dining table within a royal palace hall. The setting is inspired by Charles Perrault’s fairy-tale France—lavish, candlelit, and richly detailed. The queen has fair skin, high cheekbones, and a stern, regal expression. Her dark blond hair is pulled back beneath an ornate gold filigree crown adorned with pearls. She wears diamond-drop earrings that catch the candlelight subtly. Her attire is a deep red velvet gown with intricate gold embroidery, paired with a fur-trimmed cream robe draped across her shoulders. The warm glow of chandeliers and candles casts soft shadows across the marble floor and gilded woodwork. The atmosphere is quiet, tense, and authoritative—like a still moment from a dramatic historical fantasy film. Only the queen is in view, looking sharply ahead, embodying power, tradition, and pressure. The shot is cinematic, fairy tale realistic, richly lit, with shallow depth of field and lush 17th-century French palace decor.

“Everyone will be watching,” she said last night over dinner, her tone clipped, her gaze sharper than her diamond earrings.

“You must dazzle them, Princess Aveline. A crown rests heavier on a woman’s head.”

As if I don’t already feel its weight pressing down.

A cinematic, fairy tale realistic image of Princess Aveline Beaumont, a French royal woman in her mid-to-late 20s, standing in poised contemplation inside a sunlit Baroque palace hall. The vast corridor is adorned with towering gilded mirrors, marble columns, and ornate crystal chandeliers, now catching natural daylight streaming through tall arched windows. The polished marble floor reflects the golden light and the soft movement in the space.

Princess Aveline stands alone in the foreground, her posture serene but inwardly reflective. She wears a deep indigo floor-length gown embroidered with silver stars and delicate vines, catching subtle sunlight. Her chestnut-brown hair is arranged in a formal braided chignon accented with a pearl comb or delicate tiara, with a few loose tendrils framing her gentle, thoughtful profile. She gazes into the distance or perhaps into the mirror beside her, caught in a moment of silent reflection.

In the soft-focus background, blurred figures of court attendants and royal subjects bustle quietly—arranging flowers, discussing decor, tuning instruments—all preparing for the upcoming royal ball. Their presence suggests life and movement, yet the framing keeps Aveline emotionally isolated in her moment of stillness. She is central, but detached—a queen in waiting, surrounded by activity but burdened with introspection.

The atmosphere is calm, elevated by the sun-drenched elegance of the space, evoking a Charles Perrault–era aesthetic. The lighting is natural and golden, with shadows and light pooling on the floor in a painterly pattern. This image captures the contrast between Aveline's quiet solitude and the palace’s celebratory momentum—a portrait of poised vulnerability before ceremony overtakes her.

I pace the length of the hall, my footsteps catching on the marble. My fingers skim the banquet table, cold beneath my touch, its surface polished to perfection. My reflection stares back at me, but it’s not a comforting sight.

All I see is the performance I’ll have to give, the smiles and curtsies, the quiet endurance that seems to come so easily to my mother.

It’s harder for me.

I’ve never wanted to be a doll, no matter how pretty the dress.

For a heartbeat, I catch my reflection in the glass of the banquet table—and in the shimmer, I think I see another figure. Not my own, but a trick of the light… or a girl I’ve yet to meet.

“Aveline. Your Highness.”

Claudine Delisle’s voice draws me from my thoughts. Both my closest advisor and lady-in-waiting stands in the doorway, her expression unreadable. She doesn’t ask if I’m alright—she knows better than to waste words on questions like that. Instead, she steps closer, her voice low and calm.

“The diplomats from the southern provinces have arrived. Lord Thibault, too.”

“Of course,” I say, as though it doesn’t matter, though the knot in my stomach tightens. Diplomats mean more masks to wear, more measured words and careful smiles. But somewhere beneath the dread, there’s a flicker of something else.

Hope. That maybe, for once, someone will see me, not the polished mask I wear.

Esmée’s Wisdom

A cinematic, narrative photograph showcases a young French woman in her mid-to-late 20s with olive-toned skin, expressive almond-shaped dark eyes, and long, thick wavy brown hair walking alone through an ancient forest path at golden hour. Her hair is loosely braided with several tendrils curling around her face. She wears a patched, earth-toned wool dress with a leather sash at her waist and no visible adornments. The atmosphere is soaked in warm, diffused golden light filtering through the tall, moss-covered trees. The forest path is uneven and flanked by thick undergrowth, with layers of mist settling in the distance. Her bare feet tread softly on the worn trail, suggesting quiet resilience. Her expression is contemplative, touched with sorrow and strength, as if she has just emerged from something profound. The style is fairy tale realism, richly cinematic, painterly in texture, and grounded in emotional storytelling.

The forest smells like damp earth and pine, a sharp, clean scent that makes me feel lighter with every step. It’s quieter here—no sharp voices, no clatter of wooden spoons against pots, just the crunch of leaves beneath my boots. However, there is also another thing, the mood. A soft hum, like a low note vibrating beneath the skin of the world. I only ever feel it when Esmée is near.

A cinematic, horizontally composed, fairy-tale realistic portrait set in a serene French forest clearing at golden hour.
The environment is inspired by Charles Perrault’s early French fairy-tale atmosphere — lush green foliage, tall ancient oaks and beeches, and soft moss along a narrow winding path. Shafts of golden light filter through the canopy, creating a warm haze and gentle dust motes suspended in the air. The clearing feels enchanted but grounded in realism: quiet, warm, timeless.

At the center stands Madame Esmée Étoile — a Black French enchantress in her mid-50s.
She has warm brown skin, deep, expressive dark eyes, and tightly coiled natural hair streaked with soft silver, some curls escaping naturally beneath a rich red scarf draped loosely around her head and shoulders. Her expression radiates wisdom, calm, and subtle knowing — a faint, confident smile suggesting she understands more than she says.

She wears a deep indigo dress embroidered with faint constellations and swirling vine motifs, the patterns almost invisible until the light catches them. The gown is inspired by 17th-century French rural dress, practical yet elegant, with long sleeves and a fitted bodice.

A worn leather satchel crosses her chest and rests at her hip, the flap open just enough to reveal fresh herbs and small glass vials, hinting at her role as healer, herbalist, mystic, and guardian of the land’s balance.

The forest subtly responds to her — trees leaning inward, light pooling gently around her figure. The mood is magical without special effects: enchantment conveyed through color, warmth, composition, and her presence.
The portrait carries a painterly texture, grounded realism, and the quiet power of a woman who listens to the land.

She waits in the clearing, her red scarf vivid against the green, her dark eyes catching the sunlight like river stones. Her smile is sharp and warm at once, the kind of smile that says she knows far more than she’ll ever tell. There’s something about her, something otherworldly. I’ve always thought she belongs more to the forest than to the road.

“Bonjour, ma chérie.” Her voice lilts like birdsong. Hello, my darling. “You’ve grown.” She glances toward the trees as though the forest itself had whispered my secrets to her. “And still sneaking away?” Her smile is sharper this time, as though she knows the path I’m on before I do.

“Only when it’s important,” I reply, though we both know that isn’t true.

“Bien.” She straightens, brushing her hands against her skirts. Good. “The world is better for it.”

Esmée has always seen me—not the servant, not the ash-streaked girl Madame Violette scolds, but me. That’s why I come here, no matter the risk. She doesn’t care about the rules of the estate or the titles that weigh other people down. To her, I am something more.

Her sharp, knowing gaze often carries the weight of unspoken truths, and I’ve begun to suspect she knows more about the whispers than she’s ever shared. Perhaps she doesn’t just hear them—perhaps they answer her.

A cinematic, ultra-realistic, fairy-tale grounded photograph of Madame Esmée Étoile.
Set in a lush French forest during golden hour, the atmosphere is warm, enchanted, and rooted in natural realism rather than stylized fantasy.

Esmée is a Black French enchantress in her mid-50s, standing calmly in a small forest clearing.
She has warm brown skin, silver-streaked, tightly coiled natural hair, partially wrapped in a deep red scarf that drapes softly over her shoulders.
Her expression is gentle but wise—a knowing look, soft yet powerful, as if she carries centuries of whispered knowledge.

She wears a deep indigo dress with subtle embroidered patterns resembling constellations and curling vines, catching the warm light in a naturalistic way.
A worn leather satchel hangs at her hip, filled with herbs, small vials, and sprigs of greenery, signaling her role as healer and keeper of old magics.

The lighting is rich, warm, and cinematic, with golden sunlight filtering through tall trees, creating soft highlights across her face and fabric.
Faint particles of dust float through the air, caught in the light.
The environment subtly responds to her presence—leaves angle toward her, shadows soften—but without overt magical effects.

In her outstretched hand, she releases a few gentle golden motes of light, extremely subtle, realistic, and soft—more like drifting firefly glow than special effects. The magic enhances the realism instead of overshadowing it.

Photographed in a cinematic, film-lens aesthetic, shallow depth of field, natural colors, and extremely detailed textures, blending fairy-tale atmosphere with grounded realism.

“Your mother stood here too, once. The whispers never stopped missing her.”

She turned to the wind.

“They’ve waited a long time for you, child of rhythm. The whispers guide you because they see you as part of the balance,” she tells me, her voice soft yet firm. “Do not fear that calling, Cinder. It is yours by right.”

“There’s a rhythm in you, ma chérie,” she told me once. “And rhythms can change a world.” At the time, I didn’t understand. Now, I wonder if she meant the balance.

Esmée’s fingers move with practiced ease, sorting through her basket of jars and herbs. The sunlight filters through the trees, casting shards of rainbow light.

“Tu ne viens pas pour rien,” she says, her tone deliberate. “You don’t come for nothing”. She watches me closely, her sharp smile deepening. “There’s always a reason, ma petite.”

A cinematic, fairy tale–realistic digital photograph captures a quiet exchange between two French women standing on a narrow forest path during golden hour. On the left, Cinder Dubois — a young French woman in her mid-to-late 20s with olive-toned skin, expressive dark almond-shaped eyes, and long, thick wavy brown hair — wears a muted, earth-toned wool dress with a simple sash tied at her waist. Her hair is loosely braided, with wisps of curls catching the golden light. She stands barefoot on the dirt trail, holding a small sprig of greenery gently offered to her by an older French woman.

The older Black woman, Esmée Étoile, appears in her mid-50s, with warm brown skin, silver-streaked tightly coiled hair wrapped in a deep red scarf, and sharp, kind eyes. She wears a deep indigo dress embroidered with subtle vine and star patterns, and carries a worn shoulder satchel with vials, dried herbs, and roots peeking out. The atmosphere is rich with warm golden light filtering through tall trees, creating dappled shadows on the forest floor. A soft rainbow lens flare arcs subtly between them, adding a hint of enchanted realism. The moment is intimate and reverent — a passing of quiet knowledge or ritual under the watch of the woods. Shot in a fairy tale–realistic style, with cinematic composition, warm light, and painterly emotional tone.

I roll the rosemary between my fingers, the scent sharp, familiar—and comforting in ways I don’t fully understand.

“It’s getting harder,” I admit. “To leave, to come here. Madame watches everything.”

“Bien sûr.” She nods knowingly. Of course. “The cruel always fear what they don’t understand.” Her voice softens as she tucks a stray strand of her dark hair behind her ear. “Mais n’oublie pas, ma petite. Don’t forget, my little one. Don’t let her see you falter. If you do, she’ll think she’s won.”

I want to ask her how she knows these things, how she sees through people as easily as she sees through me. But before I can, she pulls a book from the folds of her basket and places it in my hands.

She drew the book from the folds of her wagon with deliberate care, as if lifting something sacred from a cradle. The cracked leather creaked softly in her hands, worn smooth by time and use. As Esmée passed it to me, the scent of dried lavender rose gently between us—familiar, grounding, like something half-remembered from childhood.

A cinematic, fairy-tale–realistic photograph set in a warm sunlit French forest at golden hour. The camera angle is positioned behind Cinder Dubois, looking over her shoulder toward Madame Esmée Étoile and her caravan.

Cinder Dubois — a young French woman in her mid-to-late 20s with olive-toned skin, expressive dark almond-shaped eyes, and long, thick, wavy brown hair — stands barefoot on a forest path. Her earth-toned wool dress is simple and worn, with a loose braid falling down her back. Her silhouette is softly rim-lit by golden sunlight filtering through tall trees.

Before her stands Madame Esmée Étoile, a Black French enchantress in her mid-50s with warm brown skin, tightly coiled hair streaked with silver, wrapped partly in a deep red scarf. She wears a deep indigo dress embroidered with delicate vine-and-constellation motifs, and a worn satchel at her hip filled with herbs and cork-stoppered vials.

Esmée holds an ancient grimoire open in her hands. Golden magical script glows from its pages — swirling lines, symbols, and drifting sparks illuminating her face. The light softly reflects in Cinder’s eyes from behind.

To Esmée’s right is her wooden vardo-style caravan, painted in deep blues and gold filigree patterns of stars, vines, and moons. Woven baskets of herbs hang from the side. Sunlight pours through the trees, catching dust motes and soft beams of amber light.

The emotional tone is intimate and reverent — a private moment of initiation or revelation. The style is cinematic, photorealistic, warm, and painterly with subtle enchanted realism.

“Tu sauras quoi en faire,” she said, her voice low and sure. You’ll know what to do with it.

I hesitated. The book felt warm in my hands. Alive, somehow. I could feel a hush spreading through the trees around us, like the valley itself had leaned in to listen.

“I don’t know magic,” I whispered, almost apologetically.

Esmée smiled. That knowing, impossibly kind smile of hers. “Pas encore,” she said. Not yet.

Her words settled over me like the warmth of a hearth fire on a winter morning. And then—subtle at first—I felt them: the whispers. They curled through the air like tendrils of smoke, brushing against my skin, humming in rhythm with something inside me I had never quite heard before.

“Take it,” she said, not as a request but as a truth. “You’ll need it soon.”

And in that moment, I believed her.

Not because of the glow beginning to stir from the book’s spine, or the way the light bent gently around Esmée’s red scarf like a halo. I believed her because the valley did. Because the trees did. Because something deep within me stirred—and answered.

A cinematic, fairy tale–realistic digital painting set in golden hour sunlight. A young French woman in her mid-to-late 20s with pale olive skin, dark expressive eyes, and long wavy brown hair worn loose (not braided), stands in a sun-dappled forest clearing near an old herbalist’s wooden wagon. She wears a worn forest-green dress with a brown sash at the waist. Her expression is one of quiet awe and curiosity as she gazes down at an old book in her hands. The book is small but heavy, bound in cracked, weathered leather with gold-edged pages that shimmer faintly in the sunlight.

Delicate tendrils of golden magical light rise from the open book—like threads of starlight or floating motes—illuminating intricate script and drawings of herbs, stars, and faint musical notes on the pages. The warm forest around her glows with a soft cinematic haze. In the background, Esmée’s herbalist wagon is partially visible: wicker baskets of herbs, burlap draped over its roof, and glass vials catching the light. The tone is intimate, enchanted, and deeply atmospheric—conveying a moment of personal awakening and gentle magic.

Style notes: Charles Perrault–era costume realism, French forest setting, warm golden lighting, shallow depth of field, richly detailed textures (cloth, leather, paper), emotionally evocative expression.

The book feels heavy in my hands, though it isn’t large. Its leather cover is worn and cracked, its pages edged in gold that glints in the sunlight. When I open it, the scent of lavender and something darker—sage, maybe—drifts out. The pages are filled with elegant, looping script and intricate drawings of plants, stars, and something that looks almost like music notes.

“What is it?” I whisper.

Her hand lingers on the book, her gaze distant for a moment.

“This is not just a guide, ma petite. It is a part of the balance itself—a record of its rhythms, its secrets. It will not yield its truths all at once. You must be patient. You must listen.”

I feel the weight of her words settle into me, as though they are not hers alone but a truth that flows from the land itself. Esmée’s presence feels different now—less like a mere healer and more like the whispers themselves made flesh.

The Gift Between Winds

Cinder

The wind had stilled.

Esmée had vanished again, but something remained. Not in the clearing—in me. I clutched the grimoire to my chest, grounding myself. But something else stirred in my satchel. I reached inside and found it.

A cinematic digital photograph, fairy tale–realistic in style, depicting Cinder standing alone in a forest clearing at dusk. She is a young French woman in her mid-to-late 20s with pale-olive skin, long wavy brown hair worn loose, and dark expressive eyes. Her features are contemplative and slightly wistful as she clutches a worn, leather-bound grimoire to her chest. She wears a simple forest-green medieval dress with rolled sleeves and a brown leather belt. The light of dusk filters through the trees in soft amber tones, catching in the edges of her hair and the gold-gilded pages of the book. Her satchel is slightly open, hinting at a locket tucked just inside. Around her, the air is still, reverent—suggesting a moment of quiet transformation. The composition is horizontal, cinematic, evoking the stillness of a film scene moments after the wind has stopped. The tone is warm, magical, and emotionally intimate, grounded in realism with subtle narrative energy.

A pendant.

Not stone.

Not crude.

A heart-shaped locket, warm and cool all at once, its surface catching the last light of dusk.

Polished, but not gaudy—just… honest.

Simple.

Real.

A horizontal, cinematic close-up photograph in a fairy tale–realistic visual style. The image shows the open palm of a young French woman—Cinder—in her mid-to-late 20s, with pale-olive skin and delicate, dirt-smudged fingers, resting gently at waist height. In her hand lies a small, heart-shaped locket made of aged silver or antique bronze. The locket appears slightly worn yet lovingly preserved, polished but not flashy—its surface simple and smooth, with a faint floral motif or quiet engraving barely catching the last light of dusk.

Her linen forest-green dress sleeve is rolled up just enough to reveal her wrist, its edge frayed slightly, contributing to a sense of grounded realism. The texture of the linen is visible, soft and rough at once. Just behind her hand, a weathered leather satchel rests against her skirt, partially opened, with the corner of a thick, leather-bound grimoire tucked inside—suggesting recent use or magical significance.

The background is a soft cinematic blur: forest undergrowth, golden hour light filtering through trees, and the whisper of wind barely bending the tall grasses. No direct magical effects are visible, but the locket seems subtly alive—lit by intention, memory, and ancestral presence.

The mood is hushed, reverent, and emotionally resonant. This is not a moment of grand spectacle but of quiet inheritance—a gift carried, discovered, remembered.

I didn’t know why I’d carried it all this time. It had belonged to my mother once, I thought.

Or maybe it had never belonged to anyone at all.

Just waited.

I turned it over. The metal held a quiet warmth, like it remembered being held.

“I saw her,” I whispered. “In a dream. A hall of mirrors… She was watching herself, but looking for something else.”

It pulsed faintly. Not with magic—something older. Intention.

“She doesn’t know me,” I said. “But I think… she hears what I do.”

From the shadows, Esmée reappeared.

“As do you.”

She stepped forward, palm open.

“Let me carry it. She’ll wear it, even if she does not yet know why.”

I imagine her fingers brushing the clasp, unaware it once rested in mine. The thought is too warm for the cool forest air.

I pressed it into her hand.

“She won’t know it’s from me.”

“No,” Esmée said gently. “But she’ll feel it, all the same.”

And then, she was gone again.

The Weight of Appearances

The afternoon light streams through the tall windows of my sitting room, painting golden patterns on the parquet floor. Claudine stands by the vanity, holding up two gowns—one in deep blue satin and the other a pale gold that glimmers like sunlight.

HORIZONTAL CINEMATIC IMAGE: A cinematic, richly detailed, fairy tale realistic scene set in a royal palace during the Charles Perrault era, styled like a still from a historical drama film. The image features Claudine Delisle, the queen’s trusted lady-in-waiting and closest confidant, standing in a softly lit sitting room during the late afternoon.

Claudine is a poised Black woman with deep-brown skin glowing warmly in the golden sunlight streaming through tall palace windows draped with sheer lace curtains. Her tightly coiled black hair is styled in a neat braided chignon, adorned with a single pearl hairpin. She wears a modest, practical gown in muted gray-green linen, appropriate to her station—high neckline, long sleeves, and cuffs trimmed with fine ivory lace. Around her neck, she wears a small, weathered silver pendant reflecting her Caribbean heritage.

In each hand, she holds up a gown on a wooden hanger, positioned in front of her: one is a luxurious deep blue satin gown, elegant and regal, and the other a pale gold dress that softly glimmers like sunlight on water. The fabrics are clearly distinguishable—smooth and lustrous versus subtly radiant—visually representing a decision of importance.

Her expression is serene and unreadable, with almond-shaped dark eyes focused between the two gowns. Her stance is grounded and graceful, embodying quiet authority and thoughtfulness. Behind her, the room is refined but intimate, with a polished parquet floor, carved wooden furniture including a vintage vanity and cushioned stool, and the soft play of natural light animating the textures of the space.

The atmosphere is one of stillness and clarity, with the faint scent of lavender implied on the breeze through the open window. The image conveys Claudine’s deep sense of duty, her unspoken influence, and her role as a constant in the shifting world of royal life. Shot in warm, natural light with shallow depth of field, period-authentic costume design, and cinematic composition.

“Which one do you prefer, Your Highness?” she asks, her voice careful, as though the wrong answer might shatter the fragile peace of the day.

I stare at the gowns but see only the expectations draped over them. “Does it matter?” I say finally. “It’s all the same to the court.”

Claudine sets the gowns down and steps closer. Her dark eyes meet mine, and for a moment, the air feels heavier, quieter.

“It matters,” she says. “Not to them, but to you.”

A cinematic, fairy tale realistic depiction of a French royal sitting room in the late afternoon. The room is elegant and refined in Rococo style, with tall arched windows draped in golden curtains, intricate gilded wall molding, and a polished parquet wood floor that reflects warm shafts of sunlight. The late-day light streams in at an angle, casting golden patterns across the floor and walls, bathing the space in a soft, amber glow that evokes quiet serenity.

Princess Aveline Beaumont, a French royal woman in her mid-to-late 20s, sits in profile by the window on an ornately carved, upholstered chair. She has almond-shaped brown eyes, olive-toned skin, and chestnut-brown hair arranged in an elegant braided chignon adorned with a pearl comb. She wears a simple but graceful floor-length gown in deep indigo, with subtle texture or embroidery visible only where the light catches. Her posture is regal yet introspective—hands resting gently in her lap, head slightly tilted downward, lips closed in a pensive expression.

The scene conveys quiet elegance and subtle melancholy. The mood is intimate rather than grand, focused on the stillness of her presence in this gilded space. No other figures are present. The viewer feels as though they’ve stumbled upon a private moment—the princess lost in thought, caught in a beam of dying light before dusk.

This should feel like a frame from a gorgeously lit period film: painterly, emotionally rich, and steeped in Charles Perrault–inspired French fairy tale realism.

Her words catch me off guard, though I try not to show it. Claudine always knows when I’m slipping, when the weight of everything feels too much. She never says it outright—she’s far too clever for that—but her reminders are always there, steady and unshakable.

“The blue,” I say, more to please her than myself. “It’s less expected.”

She smiles faintly, folding the gold gown with practiced precision.

“Less expected is always better, don’t you think?”

The Grimoire’s Secrets

The book is heavier than it looks, and the air feels thicker as I carry it back through the forest. By the time I reach the crumbling estate, my arms ache, and my heart thuds with the fear of being caught.

Madame Violette doesn’t ask questions when she finds something she doesn’t like—she punishes first and assumes guilt later.

I tuck the book beneath the loose floorboard under my cot, where my mother’s old journal still sits. A sprig of dried lavender rests beside the journal—an offering my mother once said kept malevolent spirits away. He always believed lavender carried the wisdom of the forest.

As the house falls quiet, I light a candle stub and let its faint glow spill over the pages. Only then do I dare open the book again.

HORIZONTAL CINEMATIC IMAGE: A cinematic, richly detailed photograph in a fairy tale–realistic style. The image focuses on the hands of Cinder—a young French woman in her mid-to-late 20s with pale-olive skin and delicate, work-worn fingers lightly smudged with dirt—tracing an intricate sigil on the open page of a weathered grimoire. Her long, wavy brown hair spills slightly into the blurred foreground, hinting at her presence without fully revealing her face. The grimoire is leather-bound, its cover cracked and scuffed with decades of use. Its pages are thick, slightly uneven, and deckled at the edges, with faint stains from water and time.

The sigil at the center of the right-hand page is a circle surrounded by petal-like arcs, their ends tapering into sharp, thorn-like points, resembling a flower with an edge of danger. Around it, faded illustrations of lavender, sage, and unfamiliar plants weave into delicate ink star maps. The ink varies in tone—some lines deep black, others aged to brown—showing the touch of different hands over time.

Cinder’s right hand gently traces one petal of the sigil with her fingertip, while her left steadies the book near the spine. The rolled cuff of her forest-green linen dress is visible, textured and worn from daily labor. Candlelight pools warmly across the page, catching the raised texture of the ink and highlighting the rich grain of the parchment. The background is softly blurred, with hints of a shadowed wooden interior and the faint outline of her satchel resting on the floorboards.

The atmosphere is still and reverent, as if the air itself holds its breath—no visible magic, just the quiet gravity of something ancient and waiting. The mood is intimate, tactile, and quietly charged with meaning.

The pages feel alive, humming beneath my fingertips. They’re filled with drawings—plants I recognize, like lavender and sage, but others I’ve never seen. Stars arranged in patterns that make my head spin if I stare too long. At the center of one page, there’s a symbol that makes my breath hitch: a circle surrounded by delicate lines, almost like a flower, with sharp points that remind me of the thorns I used to pull from my mother’s rose bushes.

The journal’s pages fluttered open to a passage half-faded by rain.

“The land listens best when you bleed and believe at once.”

I touched the ink as if it were skin.

The symbol seems familiar, as though plucked from the pages of an old Provençal grimoire. My mother once told me about protective sigils carved into ancient stones, the markings meant to tether a balance between earth and sky. I trace the lines, and for a moment, I swear I feel something move beneath my fingers—a warmth, faint and fleeting, like sunlight breaking through the clouds.

The air thickens, wrapping around me like a cloak. And then I feel it: a voice, not in my ears but in my chest, vibrating against my ribs as though my body itself were the drum for its rhythm.

“Find the crown.”

I jerk my hand away, slamming the book shut. The voice is gone, but the words linger, threading themselves into the whispers I’ve heard all my life. For the first time, I wonder if they’ve been leading me somewhere all along.

A Locket Arrives

Aveline

A cinematic, fairy tale realistic still frame capturing a quiet, emotionally charged moment at night. Princess Aveline Beaumont, a fair-skinned French noblewoman in her mid-to-late 20s, stands beside the large arched window of her private royal chamber. She wears a soft, historically appropriate nightgown—cream-colored linen with delicate embroidery at the collar and cuffs—evoking the quiet dignity of a princess in solitude. Her dark hair is loosely braided, some strands falling gently over her shoulders. The moonlight filters through the leaded glass panes, casting pale light and lattice-like shadows on the stone floor.

In Aveline’s right hand, she holds a small deep plum velvet pouch, the drawstrings partially loosened, suggesting it has just been opened. Her left hand hovers near her chest, where a simple, heart-shaped metal locket now rests on a fine chain against her gown—elegant, understated, and clearly precious. The locket catches a subtle gleam from a nearby candle or low lantern light.

Her posture is still, contemplative, touched with awe and quiet emotion. Her expression is layered: restrained, thoughtful, but faintly vulnerable—as if trying to process something too tender to name. The camera captures this in a softly lit, horizontal composition, focusing on the interplay of light and shadow, and the velvet and silver textures of the pouch and locket.

The atmosphere is intimate and emotionally symbolic, steeped in the stillness of night and the tension of unspoken meaning. The composition leans into fairy tale realism, with warm, soft contrast and naturalistic detail.

It appeared with no name.

No note.

Just a small velvet pouch, left neatly on the sill of my chamber, its drawstrings still warm to the touch.

As if someone had only just been there.

Inside: a heart-shaped locket, metal, understated, elegant without opulence.

Not courtly.

Not adorned with jewels.

Just deliberate.

A cinematic, fairy tale–realistic still frame from a period drama shows a young French princess with fair skin and dark hair styled in a braided low chignon, standing beside a tall leaded-glass window at night. She wears elegant but modest nightclothes appropriate for an 18th-century royal—an amber-gold dressing gown with lace trim and soft fabric texture. Her face is lit gently by candlelight, her expression tender and contemplative, with slightly furrowed brows and parted lips, as though caught in a moment of emotional realization.

In her hand, she holds a small heart-shaped silver locket on a thin chain—understated, elegant, with no gemstones—resting lightly against her chest. A small velvet pouch, deep plum or midnight blue, rests subtly on the windowsill beside her, catching the low candlelight. Outside the window, hints of the night garden blur in soft moonlight. The mood is quiet, reverent, and emotionally rich—capturing both mystery and personal intimacy.

Interior is softly lit with warm candlelight, featuring carved wood paneling and delicate fabric textures. The visual tone should match a Charles Perrault–style fairy tale world rendered with cinematic depth and painterly realism. No visible text. Horizontal framing.

I clasped it around my neck that night.

When I wore it, something inside me calmed. As though the locket carried not a picture, but a presence—something seen without being spoken.

“Where did you come from?” I once whispered aloud.

The locket offered no answer. But I wore it anyway.

And when I did… I felt closer to myself.

The Pressure of the Court

A horizontal cinematic film still capturing a regal mother and daughter seated side by side in the grand hall of a French royal palace, styled in the Charles Perrault fairy tale era. The room is filled with filtered daylight from tall palace windows and the soft golden glow of chandeliers. In the softly blurred background, courtiers in 17th–18th century French attire—powdered wigs, embroidered coats, and silk gowns—mingle in clusters, speaking of politics, trade, and the upcoming royal ball.

At the foreground and center of the composition sit Princess Aveline and Queen Geneviève Beaumont. The Queen is a French woman in her late 40s with fair skin, high cheekbones, and a composed but stern expression. She wears a deep crimson velvet gown with gold embroidery and fur-trimmed sleeves, a pearl-drop necklace, and a golden filigree crown. Her posture is upright, her gaze slightly turned, watchful and commanding.

Next to her, Princess Aveline sits poised but thoughtful. She is a young French woman in her mid-to-late 20s with chestnut-brown hair styled into a braided chignon, fastened with a pearl comb. Her features are soft but expressive, with a contemplative gaze that hints at the weight of courtly expectations. She wears a rich forest green gown embroidered with silver vines and a delicate necklace, distinct from the Queen’s ensemble but equally regal. Her posture is graceful, her hands folded in her lap.

The lighting is warm but natural, evoking the mid-morning or early afternoon. The mood is layered—an elegant courtly setting filled with political tension beneath the glamour. The overall style is cinematic, richly detailed, and fairy tale realistic, as though plucked from a high-budget period film.

The great hall buzzes with voices, the low hum of conversation punctuated by the occasional burst of laughter. Courtiers mill about in clusters, their powdered wigs and embroidered jackets catching the light from the chandeliers.

They speak of trade agreements, land disputes, and, of course, the ball.

“It’s expected to be the grandest in years,” says one noblewoman, her fan fluttering as she leans toward her companion. “The southern provinces are sending their finest delegates. Even the Crown Prince of Aeloria might attend.”

I glance at my mother, seated at the head of the room, her expression serene but watchful.

She’s already made it clear what she expects of me: charm them, impress them, ensure they leave with no doubt of my suitability as heir.

A horizontal cinematic still from a live-action fairy tale inspired by 17th–18th century France in the Charles Perrault tradition. The scene takes place in an opulent royal ballroom or council gallery within a grand French palace. The room is richly appointed with tall arched windows, crimson velvet curtains, gold-accented wall paneling, and glowing chandeliers casting a warm amber light. The atmosphere is hushed but tense—the kind of quiet that falls just before something important is said or done.

*In the immediate foreground, sharply in focus, stands Claudine Delisle—a poised Black noblewoman in her mid-to-late 20s with deep-brown skin, almond-shaped dark eyes, and a composed, thoughtful expression. Her tightly coiled hair is styled in a braided chignon. She wears a dark indigo gown with delicate gold vine embroidery and a pale ivory lace trim, along with a small, worn silver medallion necklace—symbolic of her Caribbean heritage. She stands with her body turned slightly away from the camera, but her head is angled over her shoulder, looking to the left with an expression of elegant restraint and subtle concern—an unspoken “Ah. Here comes Thibault.”

Behind her, softly blurred in shallow depth of field, strides Lord Thibault—a tall, sharply dressed French nobleman in his late 40s. He wears a tailored charcoal coat embroidered subtly with silver thread and a crisp white cravat. His posture is upright, confident, and unhurried as he walks toward the room, just entering the golden glow of the chandeliers. His expression is unreadable, his presence commanding.

In the background, courtiers mill quietly, their figures softly blurred—men and women in powdered wigs and Baroque formalwear, murmuring behind folding fans or observing from a distance. The image captures a frozen moment of political and personal awareness: Claudine sees what others have not yet noticed. Thibault has arrived, and everything is about to shift.

“Your Majesty. Princess Aveline. Lady Claudine. The court is brighter for your presence. And some would say it glows more in yours, Princess. It must be the effect our noble Lady Claudine has on you.”

Lord Thibault’s voice draws me back to the present. He approaches with his usual confidence, bowing just enough to be polite. His dark skin and fine features stand out in the sea of diverse nobles, but his command of the room is unmistakable.

I caught Claudine’s gaze.

She didn’t speak—but her eyes told me everything. She knew his charm well, knew this polished chivalry for what it was. She’d seen it countless times in council meetings—and knew better than to be swayed by the gleam.

Especially from Thibault.

“Lord Thibault,” I reply, offering a faint smile. “I trust you’ve settled in well?”

“As well as one can in a palace where every wall seems to have ears,” he says, his tone light but edged with meaning. “A challenge, no doubt, Princess—keeping one’s own thoughts in this palace.”

Lord Thibault never enters a room quietly—nor does he speak without drawing invisible lines. That is how every council begins: with a duel dressed as diplomacy.

But today, I would not yield the first blow.

I rose from my seat, but not before my mother motioned for me to remain.

I ignored her directive and walked toward him, inclining my head and choosing my words carefully.

A horizontal cinematic still from a live-action fairy tale set in 17th–18th century France, inspired by the world of Charles Perrault. The scene is set within a grand royal council chamber deep inside a French palace. The chamber features towering arched windows draped in crimson velvet, stone walls softened by warm golden light from chandeliers, and a long polished mahogany table stretching across the room. The lighting is dramatic yet naturalistic—sunlight filters through the tall windows while candlelight from the chandelier creates cinematic shadows and golden highlights throughout the space.

In the foreground, slightly out of focus, stands Princess Aveline, identifiable by her forest green court gown and pearl-pinned braided chignon. She is turned toward the center of the room, watching.

At the visual center is Lord Thibault, a poised and commanding French nobleman in his late 40s. He has dark, smooth skin, a sharp jawline, high cheekbones, and almond-shaped eyes. He wears a tailored charcoal coat with subtle embroidery, a matching vest, and a crisp white cravat. His posture is upright yet dynamic—he is caught mid-gesture, his right hand slightly raised in a poised rhetorical motion, exuding elegance and restrained confidence. His expression is cool and unreadable, filled with intelligence and self-possession.

Seated along the long council table are a diverse group of nobles—men and women of Black, South Asian, and white backgrounds—dressed in powdered wigs, embroidered coats, silk gowns, and brocade vests. Some watch him with curiosity or intensity, others remain unreadable. The background is richly textured with period detail: paneling, gold accents, draped curtains, and the glow of a grand chandelier. The atmosphere is quiet, formal, and filled with unspoken tension—capturing a high-stakes political moment in fairy tale realism.

“The walls may listen, my lord, but the wise know what to say and what to keep silent.”

He chuckles softly, as though we’ve shared some private joke.

“Indeed, princess. A lesson worth remembering in times like these.”

“Lord Thibault,” my mother interjected smoothly, “you’ve always had a gift for remembering the right lessons—especially when they serve your moment.”

He turned slightly toward her, offering the faintest nod.

“And Your Majesty,” he replied, his tone respectful but cool, “you’ve always known how to turn a moment into a verdict.”

A horizontal cinematic still from a live-action fairy tale set in 17th–18th century France. The scene captures a poised Black woman in her late 20s standing alone in a softly lit royal chamber. She wears a deep indigo linen gown with long sleeves and delicate ivory-gold embroidery of vines and leaves along the bodice and neckline. A small, worn silver pendant rests at her collarbone, suggesting quiet history and importance. Her tightly coiled black hair is styled into a braided chignon, elegant and restrained. Her expression is unreadable—composed, observant, and subtly alert, as if she has just given a silent nod across the room.

The background features tall curtained windows letting in filtered daylight, casting warm, natural shadows across the ivory-paneled walls and parquet flooring. The room evokes quiet power and restrained grandeur, with rich textures and soft candlelight glinting off the molding. The image is in the fairy tale realistic style—high production value, emotionally resonant, and lit like a historical period drama. There are no other characters in frame. The tone is one of watchfulness and quiet strength.

As he moved on, I caught Claudine’s gaze again from across the room. She gave a slight nod, her expression unreadable—but I knew what she was telling me: Stay alert. The room was full of whispers, and none of them were safe.

I didn’t turn to watch him go. That would have given him too much. Instead, I let my posture hold firm, chin lifted—not too high, not too proud. Just enough to remind the room I wasn’t afraid to be seen.

The whispers returned as soon as his boots faded into the marble hush. I didn’t need to hear them to know their shape.

A woman who speaks too little is cold. Too much, and she’s dangerous.

I intended to be both.

A Growing Power

A cinematic, horizontal, gorgeously shot fairy tale realism image of Cinder Dubois, a young French woman in her mid-to-late 20s, walking through a lush enchanted garden at golden hour. She has light olive-toned, sun-kissed skin with a soft natural flush on her cheeks, and expressive dark brown eyes full of resilience and contemplation. Her thick, wavy chestnut-brown hair is loosely braided over one shoulder, with gentle strands escaping to frame her angular, emotionally resonant face.

She wears a patched, earth-toned wool dress in natural hues of olive green, clay brown, and forest tones—layered and visibly hand-stitched. Her outfit includes a rough linen undershirt, a simple cloth sash around her waist, and scuffed leather boots made for rural life. The dress and garments have weight and real-world texture, emphasizing her lived-in, grounded presence.

She walks with a quiet sense of purpose through a garden teeming with blooming roses, lavender, herbs, and wild greenery. As her hand brushes the petals of a rose bush, the thorns gently curl away, magically yielding to her presence—subtle evidence of enchantment in the world around her.

The garden hums with an ethereal, fairy tale energy. Shafts of sunlight filter through the overgrowth, casting golden highlights and long shadows across the path. The environment feels slightly alive—responsive to her—and the air carries the magic of an untold story. The visual tone blends cinematic French countryside realism with atmospheric fantasy: soft focus, warm natural lighting, rich greens and blooming colors, and a deep sense of place.

The book doesn’t leave my side.

I know it’s reckless, but I can’t bring myself to hide it away again. Not when every glance at its pages feels like a door opening to a world I can’t yet see but desperately want to step into. I’ve spent every stolen moment studying its intricate drawings, its looping script. Most of the words are written in a language I don’t understand, but some—just a few—are in French. They speak of the land, of balance and growth, of thorns that protect and roots that bind.

I’ve started to notice things I didn’t before. When I walk through the garden, I feel the pull of the earth beneath my feet, faint but steady. When I brush my fingers over a rose bush, I swear the thorns curl back, as if to let me pass. And when I look at Madame Violette, something sharp and heavy blooms in my chest, like the book’s power is warning me to stay on guard.

This morning, she caught me lingering by the garden wall.

A cinematic, fairy tale–realistic photograph of a tense confrontation in a crumbling 17th-century French courtyard at dusk. A young French woman stands in the foreground, facing away from the camera — her long, loose, wavy dark brown hair cascading naturally over the back of her olive-green linen dress. Her posture is rigid, defensive, bracing for impact. Across from her stands an older French woman, the stepmother: stern, commanding, and sharply defined, with fair skin, silver-gray hair tightly coiled into a severe bun, and an austere expression of cold fury.

The stepmother wears a high-collared, long burgundy gown with black lace trim, tailored at the waist in a style reminiscent of Charles Perrault’s era. One hand is clenched on a cane or walking stick, the other at her side, her stance firm and unyielding. Her dark eyes lock fiercely onto the younger woman, radiating authority and disdain.

The setting is richly textured: uneven cobblestones underfoot, climbing ivy on the stone walls of a crumbling château, wooden shutters over narrow windows. A few chickens stray in the background, adding to the rustic realism. The golden light of early evening casts soft, moody shadows, illuminating the stepmother’s face with dramatic contrast.

The mood is emotionally charged and atmospheric — a power struggle frozen mid-scene. The image is shot in a cinematic style with shallow depth of field, warm natural tones, and fairy tale realism inspired by period dramas. There are no fantasy elements — only emotional weight, grounded costuming, and visual storytelling.

“What are you doing, girl?” she snapped, her cane tapping sharply against the cobblestones as she approached.

“Nothing,” I said quickly, shoving the book deeper into my apron pocket. “Just… weeding.”

She squinted at me, her thin mouth pulling into a frown.

“I told you not to go to the woods.”

Madame Violette’s voice was low, but every syllable landed like a stone dropped in water.

I said nothing. My fingers, tucked in the folds of my skirt, curled around the corner of the book still hidden beneath the fabric.

“You’re not like your mother,” Violette continued, taking a slow step forward.

“She knew her place.”

You didn’t know my mother, Cinder wanted to say.

But she swallowed it.

The air between us stilled. I didn’t shrink back. Not this time.

I stood my ground, the sun warm on my back, but the chill came from the stepmother in front of me.

Violette leaned in, her voice soft enough to draw blood.

“You think I don’t see it?” she asked. “That change in your eyes. That spark.” Her tone was velvet-wrapped steel. “Something’s shifted. Something wicked that I should fear: disobedience.”

I said nothing. Could say nothing. Not without revealing the book tucked beneath the floorboard. The pages that glowed faintly when my fingers brushed them.

“You’ve been wandering, girl.” A pause. “Into places your mother should’ve warned you about. Places no obedient girl with half a speck of subservience would dare go.”

At that, my jaw tightened.

“I am not like most girls.”

Violette smiled, but there was no kindness in it. Only calculation.

“I should burn whatever you brought back from that forest witch. The forest witch who lured your mother into hell knows what. And if you think you can spite me…”

I met her gaze then — fully, fiercely.

“You’d have to find it first…Violette. You don’t command me.”

The words hung in the air like smoke from a candle just snuffed out.
Neither moved.

The garden held its breath.

“Don’t let me catch you idling again. You have work to do. You really think you’re special,” Violette snapped, her voice brittle. “But you’re just like her. And that forest witch.”

I blinked.

Violette looked away too quickly.

“She made the wrong choice once. And now you wear her face like a challenge.”

As she turned away, the pull in my chest tightened, like a string drawn taut.

The whispers surged, sharper now, weaving into the memory of Esmée’s voice.

‘You’ll know what to do,’ she’d said as she pressed the grimoire into my hands.

Now, her words felt less like assurance and more like prophecy. Esmée had always been tied to the whispers—the hum of the land seemed to move with her. I wondered if she had been their voice all along, a guardian hidden in plain sight, guiding me toward the truth.

“Find the crown.”

The Weight of Expectations

I hate the way the courtiers look at me.

Their gazes linger too long, sizing me up like a prize to be won, their smiles just shy of predatory. At court, I am always being watched, always being judged. It’s exhausting, this performance they expect me to give. And the ball will only make it worse.

“Princess Aveline,” Claudine says softly, breaking me from my thoughts. She stands by the window, holding a silver tray with a letter sealed in deep blue wax. “This arrived just now. From the southern delegates.”

I don’t take it. Not yet.

A cinematic, fairy tale realistic scene set in an elegant French Rococo-style palace interior during the late afternoon. Warm, natural sunlight pours through tall, arched windows with golden curtains, casting soft golden light and long shadows across the room’s polished parquet floor and ornate gilded wall moldings.

In the foreground, Princess Aveline Beaumont—a French princess in her mid-to-late 20s—stands in profile, holding a folded letter sealed in deep blue wax. She has olive-toned skin, almond-shaped brown eyes, and chestnut-brown hair styled in a braided chignon adorned with a pearl comb. She wears a deep indigo gown embroidered with delicate silver stars and vines, the bodice fitted and the sleeves three-quarters in length. Her expression is calm but serious, her eyes lowered toward the letter—lost in thought or apprehension.

Behind her stands Claudine Delisle, a poised and composed Black woman in her 40s with deep-brown skin, a braided chignon, and expressive almond-shaped dark eyes. She wears a dark indigo linen gown with ivory lace trim, modestly cut but elegant, and around her neck hangs a small, worn silver pendant—a nod to her Caribbean heritage. In her hands, she carries a silver tray, recently used to deliver the letter. Claudine watches Aveline with a neutral but knowing expression, offering silent presence and counsel rather than comfort.

The mood is one of quiet tension and restrained emotion—a moment suspended between power and vulnerability. The golden light warms the setting but not the characters’ uncertainty. The viewer feels the weight of court politics, legacy, and unspoken words. This is a frame from a richly shot period film, grounded in Charles Perrault–inspired fairy tale realism, where every detail—from embroidery to posture—carries narrative meaning.

“Why now?” I ask, though I already know the answer. My voice is quieter than I mean it to be. “Why must everything be timed around this ball?”

Claudine tilts her head, studying me.

I exhale slowly, the weight of everything pressing harder against my chest.

“All of this.” I gesture to the gilded walls, the heavy curtains, the polished performance. “The ball. The politics. The constant need to prove I belong in every room I enter.”

She hesitates, as if weighing her words.

“I think,” she says finally, “that simplicity is a luxury rarely afforded to those who can change the world.”

Her answer surprises me, but it doesn’t soothe me.

Change the world? Sometimes I feel like the world is too heavy to lift at all.

Outside, I hear the faint sound of Claudine’s voice speaking with a messenger. Her words are clear:

“Deliver this to Lord Thibault. He’ll want to see it immediately.”

My stomach tightens — though I’m not yet sure why.

Foreshadowing the Collision

A cinematic, gorgeously shot fairy tale realism scene of Cinder Dubois, a young French woman in her mid-to-late 20s, sitting quietly on a low stool by the hearth in a small, dimly lit room of a crumbling French fairy tale estate. The hearth glows faintly, its embers casting a warm, soft light that mingles with the golden haze of early morning spilling through a cracked window. The air smells of soot and lingering smoke, mixed with the crisp scent of dawn seeping through the weathered wooden walls. Cinder has olive-toned skin bearing faint smudges of ash she traces absently with her calloused fingertips. Her thick, wavy brown hair is tied in a loose braid, with strands curling slightly at the edges from the fire's heat. She wears a patched, earthy wool dress in muted forest and clay tones, visibly worn and handmade, and her sturdy, scuffed leather boots creak faintly as she shifts her weight. Her dark almond-shaped eyes are clouded with thought as she gazes into the fading embers, her expression a mix of yearning and quiet resolve. The room is sparse, with worn edges, rough beams overhead, and a silence broken only by the occasional crackle of the fire. The grimoire, hidden beneath a loose floorboard, hums faintly in her mind, its presence a reminder of the impossible magic she once wielded. This scene captures the quiet aftermath of the ball, the lingering memories of its light and music haunting her as she contemplates her tether to two worlds. Photorealistic, painterly light, 19th-century French countryside style, warm golden tones, soft shadow detail, fairy tale ambiance.

That night, as I sit by the hearth with the grimoire open in my lap, the whispers come louder than ever. They twist through the air like threads of smoke, their words half-formed, their meaning just out of reach. But one phrase cuts through the haze, clear and undeniable.

“She waits where the mirrors catch the stars.”

I don’t know what it means, but my pulse quickens all the same. The grimoire’s pages flicker in the firelight, and for a moment, I swear I see a reflection that isn’t my own.


A cinematic, fairy tale realistic depiction of Princess Aveline Beaumont standing alone in the legendary Hall of Mirrors within a grand French palace. The scene is set at night—the chandeliers are unlit, and the vast hall is dimly illuminated only by starlight seeping in through the high arched windows. The soft, celestial glow casts a bluish shimmer across the mirrored walls, gilded columns, and polished marble floors, creating a still, ethereal atmosphere charged with tension.

Princess Aveline, a French royal woman in her mid-to-late 20s, stands at the center of the hall. She has olive-toned skin, chestnut-brown hair styled in a braided chignon adorned with a pearl comb, and wears a flowing deep indigo gown embroidered with silver stars and delicate vines. Her gown catches the faint starlight, allowing its silver embroidery to glint softly in the darkness.

She gazes upward or slightly to the side, her profile lit by ambient moonlight, her expression caught between contemplation and uncertainty—as though sensing something just out of reach. Her posture is poised yet still, and her slippers rest silently on the reflective marble floor, emphasizing the hush of the space around her.

The hall itself stretches into darkness beyond her, its opulent mirrors echoing Aveline’s figure in fragments. This moment is quiet but charged—a still frame from a lushly shot, Charles Perrault–inspired period film where emotion, atmosphere, and subtle tension fill every corner. The viewer feels as if something unseen lingers in the shadows, tugging at the edge of Aveline’s awareness.

The Hall of Mirrors feels different tonight. The chandeliers are unlit, the room dim and quiet, but the air is heavy, charged. I step into the center of the hall, my slippers whispering against the marble, and glance up at the high windows. The stars are faint but visible through the glass, their light shimmering faintly across the mirrored walls.

A cinematic, fairy tale realistic depiction of Princess Aveline Beaumont standing before a tall, gilded mirror in the dimly lit Hall of Mirrors at night. The vast Baroque palace corridor is bathed in soft, moonlit blue tones. The chandeliers are unlit, and the only light comes from starlight and moonlight streaming through the high, arched windows, casting a faint glow along the polished parquet floor and across the reflective mirror panels that line the walls.

Aveline, a French princess in her mid-to-late 20s, stands facing the mirror. She wears a deep indigo gown adorned with subtle silver embroidery of vines and stars that glimmer faintly under the starlight. Her chestnut-brown hair is styled in a braided chignon adorned with a pearl comb, and her expression is focused, contemplative—almost solemn. She is caught in a moment of stillness, her right hand raised toward the mirror, fingertips just barely brushing the surface.

The reflection is dark and slightly obscured, capturing only the faintest echo of her form—suggesting that this is no ordinary moment of self-recognition, but something more mysterious and intangible. Her profile is bathed in soft light from the windows, highlighting her calm but searching gaze.

Around her, the mirrored walls, fluted columns, and crystal chandeliers recede into darkness, heightening the sense of isolation and intimacy. The scene is rich with atmosphere: charged, quiet, and haunted by the possibility of magic or memory. It feels like the still before a vision—like the mirror may reveal something not her own.

The overall tone should evoke the fairy tale realism of a Charles Perrault–era fantasy film—intimate, painterly, and emotionally taut.

For a moment, I feel it—a presence, distant but palpable, like a whisper just out of reach. I shake my head, brushing it off as a trick of the light, but the feeling lingers, tugging at me like a thread I can’t see.

Preparations and Risk

The invitation came three days ago. It wasn’t meant for me, of course.

Madame Violette receives invitations to every grand event in the province, though she’s too reclusive to attend. This one arrived on thick parchment sealed with the crest of the royal family, gilded edges catching the sunlight as Aimée snatched it from the postman’s hands.

“Finally,” she’d said, holding the envelope aloft like a trophy. “A chance to show off my new gown.”

Sabine scoffed. “As if anyone at court would look twice at you.”

A horizontal, cinematic, fairy tale realistic film still set in a dimly lit sitting room of a crumbling French château estate in the early 19th century. Madame Violette, a stern French woman in her early 50s with an angular, lined face and gray hair scraped into a tight bun, sits rigidly in a high-backed chair. She wears a dark, frayed brocade gown. With a cold, calculating expression, she holds out a sealed royal invitation made of thick parchment and red wax, her hand extending across a table. Two French stepsisters in their late 20s stand before her, side by side—but their reactions contrast sharply. The first, in a muted rust-colored gown, stands with her arms crossed and a defiant, judgmental expression, refusing to look at her mother or the invitation. The second, in a reddish-brown dress, looks anxious and uncertain—her posture is tense and submissive, hands clasped in front of her. The soft, golden afternoon light pours in from a window behind them, casting long shadows. One sister is caught partially in shadow, the other in the warm light. On a silver tray nearby lies another sealed invitation, unopened. The cracked walls, heavy curtains, and worn wooden floors contribute to the faded grandeur of the scene. The image is rich in emotion, symbolic in composition, and styled as a film still from a live-action, dark period fairy tale.

They bickered as they always do, their words sharp but shallow. I stayed silent, my gaze fixed on the invitation. The edges of the parchment glinted faintly in the sunlight, and for a moment, I thought I heard it hum.

When they weren’t looking, I stole it.

Now, the invitation sits beneath my pillow, its golden crest mocking me every time I look at it. I know I’ll be caught if I try to use it. I know the punishment will be severe. And yet, every time I think of the ball, I feel that same pull in my chest, that same hum in my ears.

A cinematic, horizontal, fairy tale realism scene of Cinder Dubois, a young French woman in her mid-to-late 20s, sitting at a plain wooden table in a quiet, sunlit room. The golden glow of late morning sunlight streams softly through an old-paned window, illuminating the dust motes in the air and casting delicate beams across the cracked walls and rough floorboards. Cinder’s olive-toned skin glows warmly in the light, her thick, wavy chestnut-brown hair tied in a loose braid with a few tendrils curling naturally around her angular face. Her dark, almond-shaped eyes are locked in focused concentration on a weathered parchment invitation in front of her. The parchment hums faintly with a subtle magical aura—its edges shimmer almost imperceptibly with golden light. Her patched earth-toned wool dress, in shades of forest green, umber, and clay, blends into the muted rustic palette of the room. The wooden chair beneath her creaks softly as she leans in slightly, poised yet still. Her sturdy leather boots rest firmly on the ground, planted with intention. There’s tension in the air—a silent, anticipatory moment— as if she’s waiting for the perfect opportunity to reach out and take the invitation without being seen. The room around her is sparse and real: cracked plaster, rough timber beams, and faint shadows dancing along the walls. The entire atmosphere is steeped in quiet suspense, enchantment, and lived-in realism, with a painterly warmth reminiscent of 17th-century French countryside interiors.

I open the grimoire again, flipping to a page I’ve studied a dozen times since Esmée gave it to me. The symbol I saw before—the circle with thorns—sits at the top of the page, surrounded by stars and the faint outline of a rose. Beneath it, in elegant script, are words I don’t fully understand. But the meaning is clear enough: transformation.

The spell is intricate, far beyond anything I’ve dared to attempt. But it promises something I’ve never had: a chance to walk unseen, to step into another world without fear of being cast out. A chance to be more than Cinder.

The whispers rise again, threading through the air like a faint melody.

“Find the crown. She waits where the mirrors catch the stars.”

I steady my hands against the grimoire, its pages warm beneath my fingertips. The fear lingers, but the whispers’ pull is stronger.

End of Part 1

Continue to Part 2