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


LUMIVORE CANON PROMPT
Cinder Dubois — Listening Valley (Part I Anchor)
IDENTITY LOCK (NON-NEGOTIABLE)

Subject: Cinder Dubois

Young French woman, mid-to-late 20s

Pale olive skin

Expressive dark almond-shaped eyes

Long wavy brown hair, worn loose, natural texture

Grounded, realistic presence — never stylized or glamorized

Barefoot when contextually appropriate

Costume Lock:

Worn, earth-toned wool dress

Simple construction, cinched with plain cord

Brown or muted apron

Textured, lived-in fabric

No embroidery, no embellishment, no fantasy ornamentation

SCENE LOCK

Location: Sun-dappled path through a wild lavender field

Setting: Foothills of a forested mountain valley in Provence

Natural elements: lavender in bloom, twisted pine trees, rough stone path, faint stream visible below

Time of day: Late afternoon

EMOTIONAL LOCK

Expression: Thoughtful, quietly resilient

Emotional state: Listening, grounded, inward, preparing — not performing

No overt joy, despair, or heroism

Strength is internal and restrained

CAMERA LOCK

Camera height: Eye-level or slightly below eye-line

Framing: Medium-wide or three-quarter body shot

Orientation: Horizontal (cinematic aspect)

Subject placement: Slightly off-center preferred

Pose: Natural stillness or subtle weight shift — no dramatic stance

LENS & OPTICS LOCK

Lens equivalent: 35mm–50mm (full-frame look)

Depth of field: Shallow to moderate

Subject in sharp focus

Background softly diffused, never abstracted

No wide-angle distortion

No telephoto compression

LIGHTING LOCK

Primary light: Natural late-afternoon sunlight

Quality: Warm, soft, directional

Shadows: Gentle, realistic, never harsh

Dappled light filtering through trees acceptable

No rim-lighting, no studio lighting, no spotlight effects

COLOR & GRADING LOCK

Palette: Warm, earthy, natural

Dominant tones: muted greens, lavender purples, warm golds, stone neutrals

Skin tones: Natural, unretouched, realistic

Color grade: Subtle cinematic filmic grade

Contrast: Moderate, not high

Saturation: Controlled, slightly muted

No HDR look

No hyper-vibrancy

ATMOSPHERIC LOCK

Air: Clear, soft, breathable

No fog, smoke, haze, or particles unless narratively required

Wind: Gentle breeze only (suggested through hair movement or foliage)

MAGIC CONSTRAINT (CRITICAL)

No visible magic

No glow, no runes, no light effects

Enchantment is implied through land, stillness, and mood only

REALISM & STYLE LOCK

Photorealistic cinematic still

Observational, unstaged feeling

Film-still sensibility (A24-adjacent realism)

No illustration, no painterly style

No fantasy exaggeration

GLOBAL REFUSAL LIST

❌ No fantasy costumes
❌ No dramatic poses
❌ No glowing effects
❌ No beauty retouching
❌ No modern elements
❌ No theatrical lighting
❌ No symbolic overstatement

INTENT STATEMENT (FOR CONSISTENCY)

This image represents Cinder Dubois before transformation.
She is defined by listening, not action.
The land carries the magic — she has not yet claimed it.

Part 1: The Beginning

The Whispers

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

“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.

PRODUCTION PROMPT — Image 2
Cinder Dubois: Ash & Silence

A horizontal, photorealistic, cinematic still.

Cinder Dubois, a young French woman in her mid-to-late 20s with pale olive skin, expressive dark eyes, and long brown hair worn loose or simply tied back, stands or sits quietly near a soot-darkened hearth inside a modest Provençal estate kitchen. She wears a worn, earth-toned wool dress and a simple brown apron, sleeves rolled, fabric visibly lived-in. One hand shows traces of ash or soot.

The room is functional and restrained: rough stone hearth, iron tools, wooden surfaces, no decoration. Late-afternoon or early-evening light enters from a single small window or the hearth itself, casting warm, low, directional light with natural shadows. The air is still.

Her expression is neutral and contained—endurance without despair, anger, or performance. She is alone in the frame; the presence of others is implied but unseen.

Shot at eye-level or chest height with a 40–50mm lens equivalent, medium or three-quarter framing, moderate depth of field. Natural color, warm earthy palette, subtle filmic grade, controlled contrast.

No magic. No fantasy effects. No visible cruelty. No theatrical lighting.
Photorealistic, observational, unstaged—quiet domestic realism.

ONE-LINE NEGATIVE / REFUSAL TAIL

(Optional but recommended)

no glowing, no fantasy costume, no exaggerated emotion, no stepmother or stepsisters visible, no dramatic posing, no stylized lighting, no illustration

Esmée Arrives

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

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 horizontal, photorealistic, cinematic still.

Princess Aveline Beaumont stands alone in the empty Hall of Mirrors of the royal palace. She is a young French royal woman in her mid-to-late 20s with a refined, thoughtful face. Her chestnut-brown hair is styled into a precise braided chignon, secured with a pearl comb at the back, a few soft tendrils framing her face.

She wears restrained late-17th-century French court attire: a structured bodice, long fitted sleeves, and a full but controlled skirt in a muted slate or midnight blue tone. The fabric is matte and weighty, elegant but severe, with no visible ornamentation beyond subtle craftsmanship. No crown, no overt royal insignia.

The Hall of Mirrors surrounds her in quiet grandeur—polished Carrara marble floors, gilded filigree, tall mirrored walls, and silent crystal chandeliers. The space is empty, immaculate, and imposing. Aveline appears small within the architecture, her posture composed and upright, her expression inward and contained, as though rehearsing endurance rather than command.

Soft ambient daylight filters into the hall, cool and even, with muted reflections along the marble and glass. Nothing sparkles. Nothing draws attention away from the stillness.

Shot wide with a 35mm lens equivalent, slightly above eye level, allowing the scale of the room to dominate the frame. Deep enough depth of field to read the architecture clearly. Natural color, restrained contrast, subtle filmic grade.

Photorealistic, observational, unstaged — splendor as confinement.

Negative prompt:
no crown, no attendants, no crowd, no theatrical lighting, no dramatic posing, no fantasy styling, no spectacle, no illustration

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?

“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.

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

The Clearing with Esmée (Recognition Without Power)

A horizontal, photorealistic, cinematic still.

In a quiet forest clearing at the edge of a Provençal mountain valley, Cinder Dubois stands with Madame Esmée Étoile beneath tall pine trees. The clearing feels natural and unarranged, the forest floor layered with fallen leaves, moss, and roots. Late-afternoon light filters softly through the branches, warm and directional, casting gentle, realistic shadows.

Cinder is a young French woman in her mid-to-late 20s with pale olive skin, expressive dark eyes, and long wavy brown hair worn loose and natural. She wears a worn, earth-toned wool dress and a simple apron. Her posture is attentive and quietly open, listening rather than speaking—present, cautious, and grounded.

Esmée is a Black French woman in her mid-50s with warm brown skin and deep, expressive dark eyes. Her tightly coiled natural hair is streaked with soft silver, with a few curls escaping beneath a rich red scarf draped loosely around her head and shoulders. Her expression carries calm wisdom and subtle knowing—a faint, confident smile suggesting she understands more than she says.

She wears a deep indigo dress inspired by 17th-century French rural clothing, practical yet elegant, with long sleeves and a fitted bodice. The fabric is embroidered with faint vine and constellation motifs, barely visible until the light grazes them. A worn leather satchel crosses her chest and rests at her hip, partially open just enough to hint at fresh herbs and small glass vials inside, grounding her as healer, herbalist, and guardian of balance.

They stand or sit together at eye level, neither dominating the frame. The land feels like a quiet third presence. No magic is visible.

Shot at eye level with a 35–50mm lens equivalent, medium framing, moderate depth of field. Natural color, earthy palette, subtle filmic grade, restrained contrast.
Photorealistic, observational, unstaged — recognition without spectacle.

Negative prompt:
no glowing, no spell effects, no fantasy lighting, no dramatic gestures, no hierarchy posing, no illustration

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.

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.

“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.”

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.

A horizontal, photorealistic, cinematic close-up.

In a quiet forest clearing at late afternoon, only hands are visible. An older Black woman’s steady hands gently offer a worn leather-bound book toward a younger woman’s hesitant hands. The book’s cover is cracked and softened with age, textured and unadorned. The younger hands show faint traces of ash or soil, fingers hovering just before taking the weight.

Hints of clothing frame the edges: a deep indigo sleeve, an earth-toned wool sleeve, and the corner of a worn leather satchel resting against moss and fallen leaves. No faces are visible.

Natural, low-angle light filters through trees, softly illuminating skin texture and leather grain, with gentle shadows falling across the forest floor. No magic is visible.

Shot at hand level with a 50mm lens equivalent, tight framing, shallow depth of field. Earthy color palette, restrained contrast, subtle filmic grade.
Photorealistic, observational, unstaged — power passing quietly.

Negative prompt:
no glowing, no spell effects, no fantasy lighting, no dramatic gestures, no illustration

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.

“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.

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 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.

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 Weight of Appearances
Being Seen Without Freedom

A horizontal, photorealistic, cinematic still.

Princess Aveline Beaumont and Duchess Claudine Delisle share a quiet moment inside Aveline’s private sitting room.

Aveline is a young French royal woman in her mid-to-late 20s with a refined, thoughtful face. Her chestnut-brown hair is styled in a precise braided chignon secured with a pearl comb, a few soft tendrils framing her face. She wears restrained late-17th-century French court attire: a structured bodice, long fitted sleeves, and a full but controlled skirt in muted slate or deep blue. The garment is matte and weighty, formal and constraining. No crown. No insignia.

Claudine Delisle stands or sits nearby, close enough to register as presence but not comfort. She is a poised Black woman with deep-brown skin and tightly coiled black hair styled into a neat braided chignon, adorned with a single pearl hairpin. She wears a modest, practical gown of muted gray-green linen appropriate to her station—high neckline, long sleeves, cuffs trimmed with fine ivory lace. Around her neck rests a small, weathered silver pendant, understated and personal.

Claudine’s expression is serene and unreadable, almond-shaped dark eyes attentive and steady. Her posture is grounded and graceful, embodying quiet authority and duty. Aveline appears inward and constrained, her posture composed but tense, as though holding herself together under expectation.

The room is elegant but restrained: tall windows, pale walls, simple furnishings. Unworn gowns rest nearby, folded or draped, present but untouched. Late-afternoon light filters through the windows, warm but controlled, casting natural shadows without dramatization.

Shot at eye level with a 40–50mm lens equivalent, medium framing, moderate depth of field. Natural color, earthy-neutral palette, restrained contrast, subtle filmic grade.

Photorealistic, observational, unstaged — recognition under pressure, not relief.

Negative prompt:
no romance framing, no dramatic gestures, no spectacle, no theatrical lighting, no fantasy styling, no illustration

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.

“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.”

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

A horizontal, photorealistic, cinematic still.

At night inside a small, quiet room, Cinder Dubois sits alone at a low wooden table, reading by candlelight. She is a young French woman with pale olive skin and long brown hair worn loose, dressed in a worn earth-toned wool dress. Her posture is careful and inward, leaning slightly forward, hands resting near an open leather-bound book.

The grimoire lies open on the table, its pages filled with diagrams and handwritten script, unadorned and unmoving. A single candle provides the only light, casting warm, uneven illumination across her hands and the page while leaving much of her face and the room in shadow. A closed journal and a small sprig of dried lavender rest nearby.

The space is simple and intimate—stone or plaster walls, rough wood, no decoration. Shot at table height with a 50mm lens equivalent, medium-close framing, shallow depth of field. Earthy, low-saturation palette, restrained contrast, subtle filmic grain.
Photorealistic, observational, unstaged — aftermath, not power.

Negative prompt:
no glowing text, no spell effects, no fantasy lighting, no dramatic gestures, no illustration

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.

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

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.

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 Locket at the Window

Quiet Alignment

A horizontal, photorealistic, cinematic still.

Princess Aveline Beaumont stands alone at a tall palace window at night, partially turned toward the glass. Beyond the window, the night sky is dark and still; faint stars are visible, reflected softly in the glass.

Aveline is a young French royal woman in her mid-to-late 20s with a refined, thoughtful face. Her chestnut-brown hair is styled in a precise braided chignon, secured with a pearl comb, a few loose tendrils framing her face. She wears restrained late-17th-century French court attire in a muted, dark blue or slate tone—structured bodice, long fitted sleeves, controlled skirt. No crown. No insignia.

A simple heart-shaped metal locket rests at her collarbone, newly worn. It is understated, unadorned, and deliberate—neither jeweled nor ornate. One hand lightly touches the locket, not possessive, just confirming its presence.

Her expression is calm but searching, inward rather than emotional. She is not smiling. She is not distressed. She appears closer to herself than before.

The room around her is quiet and restrained: pale walls, minimal furnishings, shadows gathered at the edges. The light is soft and low—cool moonlight from the window mixed with faint ambient interior light—creating gentle contrast without drama.

Shot at chest height with a 50mm lens equivalent, medium-close framing. Shallow to moderate depth of field; the reflection in the glass is visible but indistinct. Natural color, cool-neutral palette with subtle warmth on skin tones. Subtle filmic grain, restrained contrast.

Photorealistic, observational, unstaged — recognition without explanation.

Negative prompt:
no magic glow, no fantasy lighting, no overt emotion, no dramatic gesture, no symbolism exaggeration, no illustration

The Pressure of the Court

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.

“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.

“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.”

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

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.

“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.

“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

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.


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.

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.”

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.

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