The sun was rising, packed in a soft red golden light, it let the world shimmer with new glamour. The air scented sweet and wet the way it only smelled after a heavy rainfall. The leaves of the plants and the grass were sparkling, turning the world into a magical place for the eye to see. A light breeze was stroking along her face like the hand of a lover, waving through the soft curls of her long red brown hair. Ciara Lovel was standing in the middle of a small terrace, facing the sunrise. Holding a steaming cup of her favorite morning coffee in her hands, the young woman closed her eyes and inhaled the distinctive smell. From somewhere, birds were chirping and filling the peaceful air with their melodies.
Suddenly, the pain came rushing back. Rolling over Ciara like a

The problem I'm having with the beginning is that it's so generic. You describe "the world" "the air" "the leaves" "the plants" "the world" again... it's all so broad that I'm not seeing anything you're describing. Give me specifics, so I have something to cling on to. I can't see "a pretty living room" as easily as I can see "an elegant end table next to a yellow-keyed piano."

I would avoid using the passive voice:

"The sun was rising"
"Ciara Lovel was standing"
"Birds were chirping"
"Tears were trying to break free"

It makes it all feel less alive, like it's already happened. Just because it's past tense, doesn't mean it can't feel like it's actively happening:

"The sun rose"
"Ciara Lovel stood"
"Birds chirped"
"Tears tried to break free"

Finally, I'm sure Ciara Lovel is quite a lovely person, but this intro isn't making me want to take the time to get to know her. She's burdened with emotions that I don't understand. She's like someone crying on a subway: I'm a little curious about what's wrong with her, but I'm more anxious to just get away. AKA, I'd close the book.

I would rather have less raw emotion and more information or more character. All I see is a woman with a dead grandma, not letting herself cry. You're showing me some of her deepest, most painful emotions, but they mean nothing to me because I don't know her. Let me know her first, and then I will understand and empathize with her more.

I'd also point out a couple things. The first has to do with narrative distance. We're getting descriptions of this place from Ciara directly in the first few sentences, colored by her own perspective ("The air scented sweet and wet the way it only smelled after a heavy rainfall" - this is her interpretation). Starting with "A light breeze..." we learn of this girl by the word "her." We're close to her, perhaps a bit outside her head, but still in her thoughts somewhat.

But then we get torn away immediately, starting with "Ciara Lovel..." which shoots the reader backwards as if the cameraman shot out of her head and zoomed out quickly. Then with the next sentence, "Holding a steaming cup of her favorite..." we get inside her head again, so the camera jumps back in. Then back out with "the young woman..." as we zoom out to the farthest point so far.

It's a subtle effect, but a jarring one. The result is a sequence that is disjointed and stuttered, even if the reader doesn't consciously know why.

The last two things I'd mention here are perhaps nitpicks. I find it awkward when a character, presented with a close-up POV as Ciara is in parts of this excerpt, describes their own physical appearance. Think back on the last time you walked through a breeze... did you notice the wind waving your hair around or did you think about the wind waving your long red-brown curls?

Finally, in a story written in third person past tense, you should probably always avoid "suddenly, (insert something happening)." It's almost always a violation of tense, and it almost never adds to the action in the way you'd desire.