Before we get into the main story, I want to set a few expectations.
First, the pacing is slow. Very slow. I am saying it again so there is no surprise later. Please do not come back and complain about it. The pace might shift over time, but in general, I like taking things slowly and letting moments breathe.
Second, you will probably notice what some people call "filler." That can be in the wording, the scenes, or even whole chapters. That is intentional. I enjoy writing everyday moments, quiet interactions, and pieces of her daily life. It is part of how I build the story and the characters.
Third, this story starts from her birth and follows her all the way through Hogwarts. That is a very long timeline. If you are looking for a story that jumps straight into Hogwarts or focuses on it early, this one will probably not fit your taste. As for post war, I have not decided yet. I will see where the story goes.
Fourth, the focus here is not the usual good versus evil. I am leaning more into different perspectives, politics, and the tension between traditionalists and those who want change in the wizarding world.
There is also a strong slice of life element, which naturally reinforces the slower pacing and those quieter chapters. This is also my first time writing something like this, so it may feel a bit unusual at the start. I will keep improving as I go.
Fifth, this is an AU based on the Basilisk-Born fanfiction. I borrow parts of its worldbuilding and narrative style, with my own adjustments and twists. If you notice similarities, that is why.
Sixth, for goblins, some inspiration comes from Harry Crow and Music Beneath the Mountains, along with Basilisk-Born and my own ideas.
Finally, the most important part. The main character is a shard of a higher being. This is a core concept I use across all my works, both fanfiction and original stories.
Because of that, she is shaped by this nature in subtle but consistent ways.
* Deep down, she sees herself as existing on a different level from others. It is not loud arrogance. It comes across as calm confidence and natural authority.
* She feels inherently free. She is not someone who truly belongs to the world she is in, and that shows in her actions. Sometimes playful, sometimes distant, sometimes even cold when she decides someone is not worth her attention.
* She is also deeply territorial. Places and people she considers hers matter to her. She protects them, claims them, and does not react lightly when something crosses that line.
* Her desire has no clear limit. It is not about owning everything, but about refusing to accept why she cannot have what she wants. If she wants something, she will reach for it.
* At the same time, she is capable of strong and genuine admiration. When someone impresses her, whether through beauty, intelligence, or ability, she does not hold back in how deeply she feels it.
* Across all incarnations, there is also a consistent affinity with darkness, cold, ice, and water.
If that sounds like something you would enjoy, then welcome.
. . .
New additional warnings and notes about accents/dialogue styles.
First, this mainly applies to Jane and the other French characters. I decided to approach their dialogue more like how Rowling wrote Fleur, though with some adjustments over time depending on fluency and environment.
For Jane:
1980–1982:
Heavy phonetic markers like ze, ees, zat, veell, and similar speech patterns.
1983–1985:
The phonetic markers noticeably decrease. Contractions start appearing in private or relaxed settings. French blends into English more naturally as emphasis or conversational anchors. Her English flows better overall, though her pacing stays careful and deliberate.
1986–1987:
Mostly fluent English with a light French cadence. Strong phonetic markers only appear when she is exhausted, sick, or emotionally overwhelmed. English becomes her main operational language, but her identity still shows through rhythm, precise wording, and occasional French interjections.
For Raph:
1980–1983:
Academic and rigid English. Strong phonetic markers. He speaks in complete, structured thoughts and often relies on French when translating more complicated ideas. Correctness matters more to him than natural flow.
1984–1987:
Moderate fluency with deliberate pacing. He consistently uses full forms and avoids slang or casual idioms. French still appears as professional or familial shorthand.
For Luelle:
1980–1982:
Heavy code switching and emotional pacing. She freely mixes French and English and learns mostly through conversation, music, and casual exposure.
1983–1985:
Rapid improvement. Her English becomes much more fluid and social. French slips out mostly when she is excited, tired, or emotional.
1986–1987:
Near native English with a melodic French rhythm. Code switching becomes effortless and natural depending on context.
For Viviane:
1980–1987:
Precise and formal English from the beginning because of her professional background. No phonetic markers. French appears only for legal, cultural, or deliberate emphasis.
For Morwenna:
1980–1983 (Ages 0–3):
Mostly pre verbal to early speech. British phonetics dominate naturally. Her first words mix both languages instinctively, with French appearing mainly as comfort words or family anchors like Maman, bon, dodo, or câlin.
1984–1985 (Ages 4–5):
British English becomes her dominant language. French appears contextually rather than decoratively, especially with Jane, during meals, or when English feels emotionally too blunt.
Examples:
"I want the blue cup. Le bleu, please."
"Merci, Maman."
1986–1987 (Ages 6–7):
Fluent British English with natural pacing and vocabulary. French becomes more deliberate, used for emphasis, family intimacy, or precision. She fully understands French but usually chooses English in public or around Jack.
Examples:
"C'est bon."
"À bientôt."
"Je comprends."
"Non, merci."
The language switching will also depend heavily on context.
In Britain, English is dominant, with French mostly used for affection, emphasis, or family shorthand.
In France, French becomes dominant, while English appears more for precision, British references, or discussions related to Keith matters.
At home, both languages mix fluidly. A sentence may begin in English and end in French depending on emotion, magical terminology, or family dynamics.
The progression is also age dependent.
Around ages 4–6, her French is more emotional, playful, and concrete.
Around ages 7–10, it becomes more analytical and culturally aware.
By 11+, she reaches full bicultural fluency and adjusts tone, humor, and formality naturally depending on who she is speaking to.
. . .
Additional warning and clarification about AI usage.
Yes, I do use AI, but only as a tool.
I mainly use it for grammar checks, smoothing out some prose, and sometimes getting a second opinion on what I could improve or add. The story itself, the ideas, the structure, the scenes, the dialogue, the drafts, all of that is mine.
If you are someone who completely hates AI and does not want anything to do with it at all, then this fic is probably not for you. The reason I did not use a "Gen AI" tag is because, personally, I think those tags are meant for stories that are fully generated by AI, not stories where AI is only used as an editing tool.
I am honestly not sure what gave the impression that the entire fic was AI generated. Maybe it is the wording, the structure, or the way I write certain scenes. But saying the whole story is AI made feels unfair. I am not typing a prompt and letting AI generate the fic for me.
AI itself is trained on human writing. So if something feels familiar or follows recognizable patterns, that does not automatically mean it was generated entirely by AI. Those patterns come from human writing in the first place.
The repetitive structure some people notice mostly comes from me, not AI. This is my first time writing a long fic completely from scratch, and I ended up stuck in certain rhythms and habits. I focused too much on showing her growth and only realized later that some parts could feel repetitive.
As for the family discussions and dialogue structure, that is simply the style I was most comfortable writing at the time. I genuinely did not know many other ways to handle those scenes yet.
I have explained some of this before in the Q&A chapter and author notes.
For this story and my newer projects, AI is mostly used as an editing assistant. Contractions, grammar suggestions, smoothing prose, or adding a final polish. That is all.
As for the images:
The character images are mostly taken from Pinterest and edited by me, mainly the hair and eyes.
The covers, volume covers, and character sheets, however, are AI generated. Yes, those are made with AI.
The reason I did not commission artists is honestly simple: I could not afford it, I freaking broke.
When I started writing this fic, I did not even have a job. Based on the salary from my previous work a year ago, commissioning even two full body character drawings would already cost around half my monthly salary in my country, and that is before adding backgrounds, titles, or additional revisions.
Personally, I did not think it was financially reasonable, especially for a fanfiction that does not generate stable income.
If you are genuinely upset about the AI art, then you are free to draw your own version and send me the link in the chapter comments. If the result fits the story and is at least comparable in quality, I would genuinely consider using it instead of the AI generated version.
Otherwise, please do not pressure me into commissioning artists when I realistically cannot afford it.
As for my current situation:
As of May 16, 2026, I am still a week in my probation period at work. Yesterday there was an evaluation meeting about my performance. Apparently, my CEO even brought my CV and evaluation results to the company psychologist. Yes, the company actually has a psychology department.
According to the psychologist, my mental condition is apparently far below the company's usual minimum standard for employees. But at the same time, they also said I have strong potential, like a rough and very unpolished diamond.
The problem is that polishing it will apparently take a very long time because there are a lot of issues I still need to work through.
During the meeting, the CEO mentioned that he wants to see improvement from me next week. But honestly, things like "improvement" are subjective. Maybe from their perspective, my progress will still feel too small or not enough for the company standard.
Meanwhile, from my own perspective, I already feel like I am trying as hard as I possibly can in my current condition.
If I am allowed to continue working there, then I am genuinely grateful to my CEO and supervisors for giving me the chance and being flexible with me while I try to improve myself.
And if things do not work out, then I am still grateful for the opportunity to work, learn, and experience this environment. It has already been something very valuable for me.
So to my readers, please be kind to me.
I am an adult with serious mental health struggles that make regular work genuinely difficult for me. I am also very broke right now, so please do not pressure me into commissioning artists.
Thanks, and sorry about all of this.