I really like your writing style. Your story flow is engaging. I see you are stoking reader curiosity with small reveals and later payoffs (act first, explain later) — you also keep your character voices in their lanes so it’s easier to know who is speaking. Your worldbuilding is layered and engaging.
I have some minor suggestions.
In the opening scenes. the character is describing vast setting first and then reduces to local detals before her. The clickety if the looms is mentioned much later when it should be in her ears at the outset. Describe what is immediately before her and pan outward (clickety, mom, the other weavers, ths overall room, etc) It felt odd that very-interesting-things were happening in proximity but were described late in the setting.
your characters seem generic with no distinction (clothing, height, physique - even a simple metaphor) so we picture how they appear - even in minimal form. The main character has no physical shape
The characters seem to be telling each other what they shoukd already know (infodrop in dialogue)
You also put people’s names in dialog rather than using stage direction of action beats. This is tedious and most writing coaches say to avoid.
Your male protagonist is highly indiscreet with such treasonous words. He should whisper his intentions, lean close, or draw her into private, not within earshot of do many that could be highly loyal to the government and turn on them. They are just too in the open for the implied stakes.
One of your characters has a secret amulet that can suppress the powers of the main character and keep her secret safe - everyone seems to know about it - Mata is very concerned for her exercising self control as a child. It seems this amulet functions a lot like training wheels or even baby-proofing precautions that should’ve already been applied to - you know - not burn the house down.
When Mata answers the door, she quickly blurts what she was doing - in detail - instead of saying “wrestling s small emergency”. This blurting detail, especially to authority she’s accountable to, is classic gullty behavior a savvy authority would see right through. She presumes he is there for the fire - because she is guilty — when it could be lots of other reasons. She needs to hold back so he states his business.
The prose is replete with time-words like before, after, when, sudden - which should be omitted and let the story flow sequentially. (then, before, after, suddenly, began to) are some of the most redundant words in fiction.
You also create false simultaneity with “as” and “ing” verbs. This requires a reader’s mind to hold the whole paragraph in the air until the final punctuation. It’s a lot of work. Rather replace “ing” verbs with past tense and refrain from “as” or “while” - let the story flow in cause-effect sequence.