When the heroine suggested a mover instead of a prince to escape the wicked stepmother, the stepdaughter explained she had something the heroine knew meant her only escape was the canonical ones of marriage. . . .
Apparently no one told Kari Woodengown.
Mind you, the traditional running away involves becoming a scullery maid, so it's less than fun, and the traditional reason is to avoid your father's oppression, but not exclusive, because Kari fled her stepmother, and worked as a scullery maid
grumble grumble grouse grouse
Is it really too much trouble to read a book or two of the classic fairy tale collections before writing about worlds where fairy tales are true? Or at least acknowledge that your characters living in a world where only a tiny handful of them come true? (This one was a contemporary fantasy, so the characters could even have read the Grimms, or Asbjørnsen and Moe.)
Which may have prompted me to watch with an eagle eye and notice that so far from being cut off from the happily ever after by her non-princessiliness, she's ideally suited. Mind you, princes and princesses are the majority of love interests, but she's magically bound to a more powerful figure that makes her work for him. The Mad
Mind you, if she were neither a princess nor working for a powerful figure nor a shapeshifter (normally a swan or other bird), she would be flush out of luck as a love interest, but then, perhaps she could be the heroine. Lots more flexibility there.