This study examines the desires of the female characters in Omani novels by putting forward the following questions: How did narrative semniotics view the character as compared to structural and reception semiotics? How possible is it to track the path of desires and emotions of the female characters in line with their actions? How is the female subjectivity achieved in the novel? What are the desires guiding the actions of the female characters in Omani novels, and what are their immediate semiotic implications in their personalities? To answer these questions, the study is divided into three chapters along with an intro and a conclusion. The first chapter looks into the character development stages starting with structure as a starting point for narrative semiotics, and moving on to the reception semiotics. Character theories evolve by the development reflected in the character. The second chapter tracks the path of the female character actions and emotions through the schemas of narrative and desire. The third chapter uncovers the subjectivity of the female character in Omani novels through both actions and emotions. The chapter then identifies the most present desires of the character, explains their semiotic implications without imposing psychological or social description. The study concluded that narrative semiotics made the character a symbol that gains its meaning from the unfolding sequence of events throughout the text. The narrative schema helped in outlining the features of the subject actions, and each stage highlighted the power of the female character to overcome stillness with transformation. Most narrative paths chosen by the female characters ended in tragedy like in the case with "Zahra', 'Amel', 'Mona', 'Sabra', 'Haneen', 'Siham' and Amina. This reinforces the fact that 'women in the novels are unable to face reality alone. The passion schema helped in outlining the features of the Emotion subject, Desires were the point of outward and inward influence, and the drive of subject-competencies; most subjects were not driven by external incentives as much as by the internal ones. The female characters were able to withstand the desires and emotions resulted from constraints and social norms, but couldn't push away the triggers of emotions, love and grief. This confirms that internal drives are much stronger than the external incentives in provoking the desires of the fema In the action stage, the female character seems to suffer a surplus of emotions related to erotic desires. However, during the emotional stages, another subject appears that suffers a surplus of emotions related to neglect of their very being. Love is the most notable pleasure desired by women, being a driver for subject transformation, while grief topped the list of pain desires because it awakened the emotion of the subject and provoked movement to transformation, and became the shelter to which the subject can return after failure.