Rather than remain and take her vow as a nun, she left for Metz, France, and became a governess for a prominent family in a court in Lunéville.

Her contributions to children's literature and the folklore genre have gained her popularity and influence as a female writer of the eighteenth century.

[1] Having lost her mother when she was eleven years old, she and her younger sister, Catherine, were subsequently mentored by two wealthy women who enrolled them in a convent school at Ernemont in Rouen.

In 1735, instead of taking her vow as a nun, she left the convent school and settled in Metz, France where her father was staying with his third wife.

[1] De Beaumont then obtained a prestigious position as a singing teacher to the children at the Court of the Duke of Lorraine, Stanisław Leszczyński, at Lunéville.

Most famous were the collections titled "Le Magasin des infans", published in 1758, which included her version of "Beauty and the Beast".

[2] All of these works were written as instructional handbooks for parents and educators of students from childhood through adolescence, mostly for young females.

Then, she published Civan, roide Bungo, histoire japonnoise ou tableau de I'education d'un prince all in 1758.

[2] She published the magazine Le Nouveau Magasin français, ou Bibliothèque instructive et amusante between 1750 and 1752, and contributed articles to the British newspaper The Spectator during her years in London.

She lived first in Savoy, near the city of Annecy, then moved to Avallon near Dijon in 1774 (see her personal letter #21 dated 22 December 1774 to Thomas Tyrrell) until her death in 1780.

[1] Her position as a governess and writer within higher society in England and France gained her exposure to people of educated and successful reputations within her fields of interest.

Tyrell worked with British intelligence and there is evidence that he and de Beaumont lived together until she returned to France with only her daughter Elisabeth and son-in-law Nicolas Moreau.

She was survived by her daughter, Elisabeth, son-in-law Nicolas Moreau, and six grandchildren, one of which would later give birth to her great-grandchild, Prosper Mérimée.

The biggest difference between both tales is how de Beaumont uses dialogue to incorporate moral lessons to educate young readers.

For example, at the end of the tale in de Beaumont's version, both of Beauty's cruel sisters were punished to live as stoned statues until they had accepted their flaws.

De Beaumont had a clear understanding that fairytales are a helpful tool to teach young readers about life lessons without them knowing.