omega-glitch

[omega-glitch]

Alphas competing to get the softest most lovely blankets for their Omegas to nest in, proving that they're good providers

[omega-glitch]

[omega-glitch]

Writing Notes: Plot Holes & Other Structural Issues

Create chapter maps to find the main issues within your manuscript.

This method is faster than reading through your entire manuscript without knowing what you’re looking for.

Examine your chapter maps for the following…

Plot Issues

Would these events really happen?

Does the inciting incident happen early enough to grab the reader?

Are there errors in the chronology of events?

Are you able to trace the plot arcs throughout the whole manuscript? For example, is there a storyline that just drops off mid-way through?

Can you follow all your subplots to the end?

Are the events well-linked? Are there any holes in the plot that need to be filled?

How is the manuscript structured? Chapters, parts, various different sections? Is it working in this format?

Can something be done to strengthen how it’s presented to the reader?

Is there enough conflict?

Have you made the stakes high enough?

Why are these events happening?

Have you adequately described what set them in motion?

Does each individual event progress the story?

Is the plot complicated enough to sustain the story until the last page?

Is the plot too complex?

Character Issues

Whose story is this? Who is telling it? Is it engaging enough?

Do you believe the characters’ motivations? Are these clear enough?

Are the support/minor characters sufficiently developed? Is there a character you’d like to see become more prominent? Is there room for a new subplot or point of view? How would this affect the current structure of your novel?

Is the development of your characters limited by the point of view you have chosen for your novel? For example, if you’ve used a child’s point of view but need to explain something complicated, how can you resolve this?

What are the reasons behind your protagonist’s decisions? Do these link back to their original motivations?

Do the characters talk in a believable way? Does this reflect their background?

Is the reader given enough reason early on to care about your characters and what happens to them later?

Do your characters change and develop in conjunction with their experiences?

Does the reader see your protagonist at their best and their worst?

Have you made your characters as in-depth as possible? Where could you add in more backstory?

Do the backstories of your characters affect the plot? How? Make sure this is worked in throughout the novel.

Do the relationships in the narrative progress realistically?

What else can you do to make things difficult for your protagonist?

Does the reader experience a range of authentic emotions due to the characters and their interactions?

Would the character really react in this way to an event?

Is each character the appropriate choice for the role they play in the narrative?

Do you have both likeable and unlikable characters?

Is your protagonist active enough?

Are the traits of your characters distinctive and consistent throughout the novel?

Are the descriptions of the characters consistent throughout? For example, you don’t want a character’s hair to be red in Chapter 1, but blonde in Chapter 11 without any reason.

Setting Issues

Is there a strong sense of place? Are there elements of history and culture? How can these factors be developed further?

Does the setting suit the events that are occurring?

Does the setting create a sense of intrigue? Enough that the reader wants to spend time here?

Are the settings described using multiple senses?

Do you favour one sense in particular? Make sure you even this out.

Are the settings logical in terms of their relation to one another?

Are the details of the setting such as climate and conditions realistic? Does more research need to be done?

Does the setting require fact-checking?

Would a different setting be more effective?

Are the settings consistent throughout the novel? Such as the number of rooms in a house, or the position of a window?

Pacing Issues

Consistency of pacing: do the subplots, climaxes, and tension work in the current order?

Is the speed at which events unfold suitable to your genre and target reader?

Are the major events in the novel given the weight they need and deserve?

Is there enough description in the manuscript that the reader feels grounded within your world?

Is there so much description that the story lags?

What are the turning points of the narrative?

How can the tension be built further in these sections?

Examine the beginning and end of the manuscript by themselves: are they gripping enough? Do they convey enough information without giving everything away? Are they effective in terms of the author’s intentions?

Are there too many action scenes in a row?

Are there passages bogged down by too much detail?

Other Issues

Is the story accessible to the reader? Can the reader relate?

Does each chapter start and end with a hook?

Are the tone, content and language appropriate for the target reader?

Is the point of view maintained throughout the various scenes? Is it consistent?

Is there one element of the story that overwhelms the rest? Try to even things out.

Are character thoughts, actions, and dialogue balanced out with setting and description?

Source More On: Character Development, Plot Development

[omega-glitch]

Writing Notes: Plot Holes & Other Structural Issues

Create chapter maps to find the main issues within your manuscript.

This method is faster than reading through your entire manuscript without knowing what you’re looking for.

Examine your chapter maps for the following…

Plot Issues

Would these events really happen?

Does the inciting incident happen early enough to grab the reader?

Are there errors in the chronology of events?

Are you able to trace the plot arcs throughout the whole manuscript? For example, is there a storyline that just drops off mid-way through?

Can you follow all your subplots to the end?

Are the events well-linked? Are there any holes in the plot that need to be filled?

How is the manuscript structured? Chapters, parts, various different sections? Is it working in this format?

Can something be done to strengthen how it’s presented to the reader?

Is there enough conflict?

Have you made the stakes high enough?

Why are these events happening?

Have you adequately described what set them in motion?

Does each individual event progress the story?

Is the plot complicated enough to sustain the story until the last page?

Is the plot too complex?

Character Issues

Whose story is this? Who is telling it? Is it engaging enough?

Do you believe the characters’ motivations? Are these clear enough?

Are the support/minor characters sufficiently developed? Is there a character you’d like to see become more prominent? Is there room for a new subplot or point of view? How would this affect the current structure of your novel?

Is the development of your characters limited by the point of view you have chosen for your novel? For example, if you’ve used a child’s point of view but need to explain something complicated, how can you resolve this?

What are the reasons behind your protagonist’s decisions? Do these link back to their original motivations?

Do the characters talk in a believable way? Does this reflect their background?

Is the reader given enough reason early on to care about your characters and what happens to them later?

Do your characters change and develop in conjunction with their experiences?

Does the reader see your protagonist at their best and their worst?

Have you made your characters as in-depth as possible? Where could you add in more backstory?

Do the backstories of your characters affect the plot? How? Make sure this is worked in throughout the novel.

Do the relationships in the narrative progress realistically?

What else can you do to make things difficult for your protagonist?

Does the reader experience a range of authentic emotions due to the characters and their interactions?

Would the character really react in this way to an event?

Is each character the appropriate choice for the role they play in the narrative?

Do you have both likeable and unlikable characters?

Is your protagonist active enough?

Are the traits of your characters distinctive and consistent throughout the novel?

Are the descriptions of the characters consistent throughout? For example, you don’t want a character’s hair to be red in Chapter 1, but blonde in Chapter 11 without any reason.

Setting Issues

Is there a strong sense of place? Are there elements of history and culture? How can these factors be developed further?

Does the setting suit the events that are occurring?

Does the setting create a sense of intrigue? Enough that the reader wants to spend time here?

Are the settings described using multiple senses?

Do you favour one sense in particular? Make sure you even this out.

Are the settings logical in terms of their relation to one another?

Are the details of the setting such as climate and conditions realistic? Does more research need to be done?

Does the setting require fact-checking?

Would a different setting be more effective?

Are the settings consistent throughout the novel? Such as the number of rooms in a house, or the position of a window?

Pacing Issues

Consistency of pacing: do the subplots, climaxes, and tension work in the current order?

Is the speed at which events unfold suitable to your genre and target reader?

Are the major events in the novel given the weight they need and deserve?

Is there enough description in the manuscript that the reader feels grounded within your world?

Is there so much description that the story lags?

What are the turning points of the narrative?

How can the tension be built further in these sections?

Examine the beginning and end of the manuscript by themselves: are they gripping enough? Do they convey enough information without giving everything away? Are they effective in terms of the author’s intentions?

Are there too many action scenes in a row?

Are there passages bogged down by too much detail?

Other Issues

Is the story accessible to the reader? Can the reader relate?

Does each chapter start and end with a hook?

Are the tone, content and language appropriate for the target reader?

Is the point of view maintained throughout the various scenes? Is it consistent?

Is there one element of the story that overwhelms the rest? Try to even things out.

Are character thoughts, actions, and dialogue balanced out with setting and description?

Source More On: Character Development, Plot Development

[omega-glitch]

Please take your omega to the aquarium.

They want to see the fish and they willake very cute faces when showing you the fish. And you can protect them from scary sharks and creepy fish.

[omega-glitch]

omega culture is coming home and literally COLLAPSING into your nest and not wanting to move for the next ten business days

.

[omega-glitch]

I'm gonna destash a lot of my fragrances I've collected this summer, but before I offer them to r*ddit 🤢🤮 (joking lol) I'll try and post them here for a discount for the misce/therian fellas. I've accumulated a lot of discontinued and unusual scents and if I can help someone out with theirs that would make me really happy :)

[omega-glitch]

all alphas should have to make offerings of their worn clothes to their omegas in order to be granted nest access. if the omega reject the article, then it's a no.

[omega-glitch]

Okay but omegas in the omegaverse are either depicted as strong willed and angry while hating their status, or weak and submissive and only living for their mate. I need omegas who are like girls in or society. Fine with being a girl, not liking the fact that their are a lot of harmful ideas, and striving to change it. I need omegas who love being omegas, and fight for other omegas.

[omega-glitch]

A/B/O Dividers

Inspired by @omegai ‘s flags!

Alpha

Beta

Omega

Bunny Beta

Bunny Omega

Bunny alpha

Miscelupine

[omega-glitch]

Omegaverse Quiz dropped

[omega-glitch]

Quick rant- one thing in Omegaverse discourse that I haven’t seen much of, if anything, is how affirming that it can be for transgender folks. Omegaverse, in the way that it is most commonly written, makes me as an AFAB person much more comfortable in my own skin.

As an AFAB person who enjoys penetration and being submissive, I find great comfort in characters who are unquestionably male to all of society having more ambiguous genitalia and the ability to become pregnant. Furthermore, these characters’ bodies can be extremely and irresistibly desirable.

My own body and desires often feel at odds to what I want them to be, but omegaverse content makes me think that maybe I’m not so wrong and mixed up. And I imagine I’m not the only person who feels this way.

[omega-glitch]

picturing an omega with echolalia growling back at an alpha just out of pure reflex.

[omega-glitch]

Misce culture is making lil noises for no reason

[omega-glitch]

pack structure

i have a more general post about packs which explains the concept and the function of packs as communities of care. in this post, i’ll discuss the typical roles that packs have.

pack roles

dominant alpha

sometimes referred to as Alpha (as opposed to lowercase-a alpha), a ‘dominant alpha’ refers to the alpha whose social standing is highest in a pack with more than one alpha present.

naming of a dominant alpha may be immediate or may take as long as months, especially when a new alpha with a strong personality is introduced to a group. the following behaviors are typical when a pack is in the process of naming an Alpha:

posturing behaviors (e.g. providing for the pack, scenting pack members, marking territory via releasing strong pheromones)

tests of will (e.g. growling, glaring, aggressive eye contact until one alpha looks away)

social structuring behavior may escalate to physical altercation.

often, alphas are unaware of the social structuring behavior being performed. they may describe antagonistic feelings toward their competitor/s (e.g., ‘i just don’t like that guy;’ ‘she’s just an asshole’) or feelings of insecurity (e.g. ‘they’re trying to make my friends hate me;’ ‘he wants to replace me.’) but these feelings usually dissipate when the social structuring behavior is completed and the packs alphas submit to the Alpha.

alpha social structuring behavior generally only takes place between the pack’s alphas. the alphas’ submission is what names a pack alpha, though non-alpha packmates’ discomfort affects the outcome of the structuring behavior. non-alpha packmates may choose to support their choice for Alpha by seeking their scent, spreading their scent-marked possessions around the den, or rejecting the other alpha’s provision.

chief omega

sometimes colloquially referred to as the pack’s ’den mother.’ because omegas tend to be more collaborative and community focused, there is no generally recognized omegan equivalent of a dominant alpha; though many packs have tacit social hierarchies. in such groups, a chief omega is named either explicitly or implicitly.

when a new omega is introduced to a pack, there may be a period of discomfort and insecurity for the established omegas. established omegas may feel that the new pack member is trying to replace them or turn the pack against them, but in a healthy pack these feelings do not persist.

the chief omega is the one to whom most pack mates, regardless of sex, tend to defer during disagreements. historically, the den mother or chief omega would have been the Alpha’s mate, but this default is no longer prevalent.

many modern packs reject the idea of a chief omega or den mother, asserting that no one should hold all the responsibility to ‘mother’ their adult packmates.

historical roles

advisor

an advisor was a beta who held the Alpha’s ear. often, the Alpha would consult their advisor and chief omega before making major decisions, such as expanding pack territory, migrating to a new location, or accepting new members into the pack. in the modern day, there is no formal advisor. in a healthy pack, this function is filled by open discussion among pack members and conversation with the Alpha’s closest friends.

emissary

an emissary was a beta who served as a pack’s representative to other packs. when forging pack alliances, the emissary was sent ahead to announce their Alpha’s arrival. they would be returned to their pack, often with a gift or word of greeting as a sign of good faith. emissaries needed diplomatic skill and strong endurance, as they were often required to travel great distances relatively quickly.

in the modern day, packs are not independent bodies with state-like sovereignty, so there is no need for representatives in this sense. historical packs or long-established families (e.g. royal houses or ‘old money’ families) may still have formal pack advisors and emissaries, but the vast majority of packs do not.

[omega-glitch]

picturing an omega with echolalia growling back at an alpha just out of pure reflex.

[omega-glitch]

omegas 🤝 autistic people

✨Nesting✨