Salutations! Well, I read through what you have and I've some feedback for you! In this I'll include both story and technical feedback so you can have a balanced idea of ways to sure up both areas!
Since your story starts with your prologue, I will too! One of the things you have trouble with right off the bat, is deciding what tense you want to use. Either use -s or -ed but mixing them up doesn't work well narrative wise. It actually brings me out of your story to the point where I can't get into a reading groove because I keep noticing instances where you've changed tense so, you have to decide on which one you want to use for the duration of your story and then mind the technicalities associated with whichever you choose.
Next is where you want to focus your narrative. We start out with Ariel leaving her home, which quickly morphs into a long swath of exposition as to why which then becomes a long exposition about her strange hair. Now, this isn't a bad thing, trying to get your actual story started, however the way it was done, made it a difficult read. First she's dealing with being afraid of the dark, then some old emotion bubble up about her home life. This is actually a nice way to convey that moment of leaving home for the first time and ones reservations, however that all gets derailed with the long explanation of her wing-hair.
Now, don't get me wrong, this is valuable information, however you've hit a problem two fold here: you repeat yourself a lot, primarily when describing that she has short hair that forms wings, and her relationship with barbers scissors. The thing is, even though you have this information to get out there, if you over explain what's going on and you use the same words over and over while doing so, the reader gets put off. Effectively it makes a reader feel like the author doesn't trust them to pay attention or pick up details on first mention. It also gums up your narrative with a bunch of unnecessary words and descriptions, which can cause a reader to put your book down.
Now, don't worry! I won't leave you without an example to show what I mean! So here is an excerpt of one section of your work and how I reworked it to convey the same information in fewer, more concise words.
Original: Ariel thinks deeply. She remembers the conversations she had with her mother when her hair was being trimmed away. Sad and displeased, she plays back the memories of sitting on a small blue wooden stool with her mother behind her kneeling down with a pillow on her knees with the scissors on her right hand. She would listen to the blades scratch against each other as they closed in around her locks. Her mother would speak sternly, "I know you don't like this, but it's for your safety...You are not like other chromatoons, and you can't pass off as human."
Edited: She winced at the memory of the blades scratching against each other as they snipped away her locks, her mother's voice playing in her head.
"I know you don't like this, dear but it's for your safety...You are not like other chromatoons, and you can't pass as human."
See how I was able to convey the same scene and tone without as much description? This is useful because it creates something for the reader: flow. If you overdescribe points that don't matter, then the reader's mind is filled with useless information that has no bearing on the plot. Is the color of the wooden stool important? I do understand wanting to establish a more visceral memory, but that would be better reserved for plot-relevant pieces. In fact, you did this very well with the scratching sound of the scissors. She IS afraid of those, the sound and the feel of them set her teeth, this is something that, as a memory, is relevant information because it'll come into play later. We don't even need to know she sat on a stool or not with regards to the haircut, because it won't be relevant information later.
This kind of pairing down is just part of the editing process. Don't worry, you're on a first draft of sorts and even by fifth drafts there is yet more pairing down to do! It's normal to have a lot of stuff in your initial run-through, but now that you know what to look for, you can spot unnecessary wordiness when it sneaks up. Plus, it doesn't mean you have to completely delete whole swaths of story, it just means you need to take what's there, and cut out what's not necessary to get your scene across. You can still describe things and build your scene, absolutely! But not to the point where it's too much.
The best example of this in your work, would be the bus station. You described the bus station for so long I originally skipped ahead. You don't want your readers skipping, cause they might actually miss important details, and too much exposition or description can do this. (If you've read the Eragon books, you'll find he does this pretty hard) Unless she's going to be living in this bus station, the level of detail isn't required. Everyone has been in a bus station and readers are pretty good at filling in those details. So, all you have to do, is take advantage of that part of the human brain, and sprinkle in a few choice details to make it sound out in the reader's mind. More example's ahead!
Original: The station was not big, still far from being lavish and only taking up about as much space as a large house. It was build to be functional like any bus station that manages to carry the flux of travelers coming and going. There was nothing special to its interior design other than some updates; like freshly painted beige walls with bright blue wallpaper borders, new lighting and an air conditioning system. The only thing inside the building that stood out was its cracking, mustard yellow vinyl floors that made the inside building become luminous and warm when the sun rose. Ariel thought it looked horrible but homely, looking as it did before it was refurbished.
On the left and right side of the square building were large rectangular windows nearly stretching from the floor to the ceiling. It helped the interior feel more open and less congested despite its small space. The left side of the building had the seating area with a few rows of metal frame seats, two fending machines against the wall, a water fountain, the restrooms, and a small sharp Linytron TV hanging from a corner of the wall, facing the seat. There was a soap opera playing but the static signal was interfering and causing bored visitors to mind their business with something else.
Next to the waiting area was the terminal where people come and go, forming lines inside braided red stanchions before exiting the station to enter the buses. On the other side of the building across the seats was the ticket information and baggage service area. There wasn't a spot inside the building that wasn't empty, and each item attentively took over a space.
Edited: Ariel stepped inside the refurbished house sized bus station, bay windows reflecting the golden sunrise off the mustard yellow floors; the smell of fresh paint and vinyl hitting Ariel right in the nose. The blast of cold air from the mounted air conditioning unit cooled the heat of the long walk off Ariel's shoulders and she sighed in relief. Everything inside this once old station was new again, from the beige paint job to the wired seats, though the soap opera crackling from the aged TV in the corner would beg to differ. Seems they never got around to replacing that she smiled, the tension of her walk seeping out of her now that she was one step closer to her freedom.
When you look at the original paragraphs, you noticed that it's long swaths of information that, while you are trying to set the scene, slows down your narrative flow to the point where a reader might just put the book down because it takes so long just to say "she went inside the bus station". It's okay to set your scene, but spending too much time on it, robs your story of its flow and thus can bring readers out of your story altogether. Again, this is ALWAYS something that happens when you're in your first drafts and it's okay! Trimming down is just part of the game. It's all about knowing what's relevant and how to build a scene by using more concise language. In the case of the bus station, I called the windows (as I imagined them, mind you) "Bay Windows" instead of describing how big they were, I just called them what I imagined them to be. My advice would be to learn the proper name of the window type you're trying to describe, and then just call them what they are. It's way easier and makes your flow just that much better.
Going along with this, you have a ton of visual information going on here, but no sensory information. What does it smell like? What does it sound like? These are all things that help put your reader in Ariel's shoes and can get them invested in the story. Now, I know that it seems like a lot to pack in, but being concise with word choice and not over-describing can make all the difference. These issues, which are prevalent throughout your story so far, have another side affect: they make your story passive. While I can see what's happening to Ariel and follow along with her, I really don't FEEL anything from her. You've done a lot of telling, and not a lot of showing. I can't feel her emotions because events are described to me as if I'm hearing the story second hand by someone who heard it from someone else. So the excess detail actually pronounces these issues.
There are a few things that cause Passive Voice to occur: uses of adverbs (-ly words), overuse of filter words (was, but, could, would, can, seem), and lack of proper tense (-s vs -ed). Unfortunately you have all three happening at once so it's giving you a hard time narrative wise. However! This is just a thing that happens when drafting your manuscript and is easily solvable! First off, you want to get your narrative from Passive to Active by deciding your tense. Most of the tense you use so far is -ed so I'd suggest just running with that one, since your word usage indicates that's where your current story would be most comfortable.
For two: look out for -ly words. Don't get me wrong, they have their place, but often times they just become an extra word and thus slow down your narrative and throw you into Passive Voice. Now, when a character is speaking, they can use these because speaking is passive, but when you want to throw your readers into the action, or description, you're going to want to avoid adverbs. This actually goes along with filter words as well, because they slow down the narrative just as much. Don't worry, I have more examples!
Original: She tried to keep her breathing steady as she nervously walked past trees and shrubs that hid her home. She shuffles further into the pack of greenery with her home disappearing behind her. Metaphorically it felt like she was leaving behind some distant memory. Her home once felt like a closed cage now left temporarily open for her to get out or cower and go back in.
Edited: Ariel steadied her breath despite her racing heart. She ducked past tree branches and slipped in between the shrubs that hid her home. With each light step further into the woods the shadow of her house blended into the backdrop of forest until it disappeared. The cage door was left open, and this bird isn't sticking around. She thought.
The adverb word I cut out was: "nervously," and the rest were all filter words. Such as: "She tried to keep", which I replaced with a single word "Steadied". To give the audience a feeling, I replaced "walked" with "slipped" (to show she was sneaking away). I deleted the sentences: "She shuffles further into the pack of greenery with her home disappearing behind her. Metaphorically it felt like she was leaving behind some distant memory." because later you end up going on at length about said memories, including the fact that she was leaving them behind, so I deleted the mention here so it wouldn't get repeated. I deleted the sentence: "Her home once felt like a closed cage now left temporarily open for her to get out or cower and go back in." and replaced it with "The cage door was left open, and this bird isn't sticking around. She thought." So as to show her own agency in her decision, turning a sentence into a thought instead.
By doing these things I was able to make a more concise paragraph that had better flow, because we didn't have extra words or unnecessary descriptions taking up their space, plus we had some sensory input: the racing of her heart, the light steps she was taking as she was sneaking away. Like I said, these are just things to do when you edit your piece that'll make it read better for an audience member to get engrossed in your narrative. When it comes to your story overall you've actually got an interesting premise and I'm sure that you'll be able to make something of it. Though this post is pretty long and shows some issues with the narrative, you actually have a solid imaginative grasp here that I think you'll be able to utilize quite well. You have clear characters, I can tell them apart, you've already given Ariel some intrigue with regards to her parentage and how she might be treated.
Ultimately I think you'll make something grand and interesting, all you have to do is a little bit of trimming here and there. Here's a good resource about where to do some of that trimming, so that if you ever need an on-hand piece of material, it's there for you!
I hope that my feedback helps you as you create the work you love and I hope the resources I've shared do much the same. Best of luck, I know you'll do well. 
