Editing - %#*!!#$

Yup.   Working on the love scenes, making sure there's enough heat in them and sexual tension and sensuality and - arrrgh!  Also doing far too much banging of my head on the desk.  This kind of work isn't usually such a pain in the rump.

I've already been through the manuscript a few times making sure names are right and you know where they are and who they are.  Will still have to do that again after this round of edits are done.  Not that I plan to move my characters around the countryside, but I miss things.  Since I wrote this stuff, the brain often sees what I meant to put there but which isn't really there.  Phantom words, if you will.

Now, as I've said before, I write most all the book out by hand and then type it into the computer, editing some as I do.  Then, since I have this little backwards problem(as they called it when I went to school) I have to go through it again and again to make sure I haven't put things the wrong way round or reversed letters, etc.   Then, to take a break from that, I do a little more 'tweaking'.  Right at the moment I'm 'tweaking' the love scenes and  the oooh-I-gotta-have-him/her scenes, etc.  And, unfortunately, right at the moment, if I get a couple of hours at a stretch without interruption, I'm lucky.  That sort of thing makes editing very hard. (And I don't care any more how nice that Verizon sales guy is, if he comes to the door one more time, I'm going to offer some suggestions of physically impossible things he can do with himself.)

What I think makes editing hard - and I'm not talking about the editing asked for by one's editor, but the stuff you do before you dare to even show it to him - is not some great, narcissistic love for one's own words that makes it impossible for you to change them, but the difficulty in messing around with what's already there.  I find that it's not easy to come up with what to say, if you've already said it one way.  I'm not talking about those obvious things like a scene that lies there, dead, lifeless, and about as exciting as a National Geographic special on the love life of slugs.  No, I'm talking about the scenes that work, that aren't bad, but somehow they just don't make you happy with them.

Of course, many writers are never fully satisfied with what's there.  You have to be careful not to slip into the trap of over-editing your stuff, playing with it so much that you actually wreck what was perfectly all right.(Looming deadlines can be a quick cure for that kind of thing)  I think we occasionally read what we wrote and think it could be better, that we want it to be more, and so we tinker, and tinker, and tinker some more.  One just has to know when to stop.  It's kind of like adding spice to a stew.  At first it's better, than a little better, and then suddenly, that one last pinch of salt(or whatever) wrecks dinner and you have to order pizza.

Then there's the problem of having read some story and that love scene was so hot it scorched the pages, and wasn't the sexual tension enough to make you sweat?  Or you could almost hear the clash of the swords in that battle.   Then there's your love scene or battle scene or whatever.  Suddenly what you thought was really good looks like crap.  Been there.  Got the t-shirt.  Took me a while to realize that I can't sound like that but it doesn't mean anything is lacking in my scene.  It's just the voice.  I hear my voice all the time in my writing so it's not going to stir me up after the eighth(or more) read-through like that other story did.  And if I tried to sound like that it'd be almost akin to plagerism for I'd be stealing that writer's voice.  Not that I think you can do that without sounding phony, but you get the idea(I hope).  I love the page after page after page of dark, desperate, angst-ridden writing like some of my favorite authors, but I accept that it's not something I can do, it's not my voice.  That's her voice.   I've learned to look at what I've written and recognize my own voice, which actually can be quite helpful in editing your own work.

So, I will go over my story and I will tweak and then I will think about it a bit, maybe tweak a little more, and then read the whole thing through once or twice more.  And - by the time I get that story off my desk - I will be doing the happy dance to see it leave.  And you know what?  After all that work, all that sweating over it, all that tweaking, I'm still not going to be sure it's 'perfect' and maybe that's a good thing.  After all, if I thought I had reached perfection, not only would I be a bit of a diva(and would probably have the strong urge to slap myself), but I'd stop trying, stop working so hard to get the story right, and that would be very bad indeed, I think.

As a final note:  If anyone happens to be in the New England area - Sunday, 12/12, from noon to 3pm - there's a multi-author booksigning in Plaistow, NH at the Well Read Books store, Elm Plaza, Rte 125, Plaistow, NH; phone #: 603-819-5116.  I'll be there with Annette Blair, Coralie Jenson, Ella Drake, Ashlyn Chase, Barbara Wallace.  Pop in if you can.  We'll have cookies.

Shopping, deadlines, cleaning, decorating, and contests.

Oh, yeh, that pic says it right - increasingly during this time of the year.  So much to do as one holiday leaps straight into another.  Throw in that deadline and things get really hairy.  It's always when you really need to get something done at a certain time that Murphy's Law kicks into high gear.  Interruptions that halt the flow of the story from brain to paper(like needing to get a molar yanked out on Tuesday), the characters decide to get persnickety on you and refuse to do what you need them to do in any way, shape, or form, even if you spend hours trying to figure out why they won't(tweaking plot ideas, playing with character charts, and so on), or your Muse decides she needs to go sunning in the Bahamas for a few weeks.  Bi**h.  Oh, and let's toss in a DH who has days of vacation left to use up and will only be working 1 day a week until the New Year, in the dead of winter, when he can't go busy himself outside.  I think I feel a breakdown coming on.

Now, I love the DH.  Will have been married to him for 40 years come March 23rd of next year.  But he doesn't get it.  I think that's a big problem with hubbies or wives or assorted live-ins if they aren't writers themselves.  They don't understand that when said writer is trying to sink herself deep into Medieval Scotland with guys who say lass and dinnae and aye(and have rock hard abs, muscular legs, and big - swords), a guy in a grubby tee-shirt stepping into the office to ask if she is going to be doing any laundry today is not helpful.  Yanks one right out of the story.  As do questions about which cat is outside or is she going grocery shopping any time soon because he's getting low on milk or - picture's clear, I think.  Said writer begins to entertain violent thoughts such as learning how to turn on the chainsaw so she can cut him off at the knees.  Then let's see him walk in and interrupt the flow.   Ah, and then there's the quiet pace through the office to look out the windows as if they don't look out on pretty much the same thing all the other windows do but why should that trouble me as he's being very quiet.  I bet there are a few writers out there who'd be willing right about then to hold him down as I rev up the chainsaw.

So - yes - the writing is creeping along.  When that molar with the cracked root gets yanked out of my mouth on Tuesday there's a chance it'll slow down to a snail's pace for a couple of days.  True, my contracted deadline is December 30th but who the heck wants a deadline hanging over their head right over Christmas?  Looking like it might be hanging over mine, though.  I know - cry me a river, world's tiniest violin playing, poor poor pitiful me, etc.  I know I have it good right now but I reserve the right to whine now and then. Sort of like the multi-billionaire who gets weary and bored watching his money pile up while all he has to do is contemplate his navel lint.  Or, maybe not.

Rant over.  I'll wrestle the story and recalcitrant characters into submission in time to meet deadline even if it means sitting up at the computer on Christmas.  (Boxing Day is when the family gathers so can't do it then)  And Thank God for internet shopping.  Now if I could just find a horde of minions to clean the house, put up my far too many decorations, and tidy up the basement, I'd have a big smile on my face.  Then again - maybe not.  Something tells me they'd probably interrupt me more than the DH.

CONTEST!!!!  It's a big one - on my website: http://www.hannahhowell.com/ .  It's a puzzle and a count-up-the hidden-pictures game.  It's hard but the prizes are worth it.  1st place: A Kindle, 2nd Place: $50 gift certificate from Amazon, 3rd place: a signed copy of HIGHLAND PROTECTOR and one other book of my own choosing.  Hope you'll pop in and give it a try.

Release Day

This is the step-back part of the cover.  Wish my back looked that good. He looks pretty spiffy, too, but being a married lady(and considering the possibility that my DH might some day see this blog) I won't express any wishes concerning him.  I'll leave those to your imagination.  Looks a bit like I thought Simon Innes would too.                                                                                                   Sir Simon Innes, the hero, showed up in 2 other Murray tales, Highland Wolf & Highland Sinner, and so I knew he needed his own story.  I always consider it a hint when that certain secondary character keeps popping up in other people's stories.  It's as if he's jumping up and down crying me, me, me.  He, or she, has obviously rooted in my mind so I begin the process of trying to come up with a tale that'll suit them.  It isn't always easy.  Sometimes I've made the character so nice and sympathetic, so good and happy, that nothing comes to mind and I am forced to ruin their lives just to get a good story out of them(cue evil laughter here).  Simon wasn't all that good.(Lucky for him)  It was clear from the start that he had 'issues'.  Good juicy ones, too.  So, as I worked on the Wherlocke trilogy, he stayed in the back of my mind, poking at me, until I began to see what I could do with him when it came time to return to the Murrays.

The heroine that would be perfect for him was a little harder.  First I had to do research into all the other Murray tales to find who could be the right age.(am working on a spreadsheet so that might be a little easier next time)  Then a name and then a problem for her that only Sir Simon could solve.  And I did rather pile it on her slim shoulders.  Treason.  Betrayal.  Murder.  Fun times.  Ilsabeth Murray Armstrong arrives at Simon's door with a really big puzzle for him to solve.

Now, naturally, they are attracted to each other.  This is a romance after all.  So throw in a few more complications - so many to choose from.  Sigh.  Anyhoo, you get the picture.  Oh, and add a couple orphans, cranky, nosy servants, interfering Murrays, and Simon's dark past and off we go. 

It was fun to revisit the Murrays.  Had to fully shake the Wherlockes and eighteenth century England from my mind first.  Took a while.  I don't know how some of these writers are able to so quickly leap from one time to another and even one genre to another.  Makes my brain hurt just to think of it.  But, the Murrays and Scotland soon began to feel like home again.  I hope any of you who read the book will feel the same.  I'm finishing up another Wherlocke tale now but have already come up with a new scenario for some Murrays for the book after that.   With a quick break to do another novella concerning those dark, dangerous MacNachtons, of course.  Have a busy year ahead of me.  Just thinking of it makes me feel like I need a nap.

Back to HIGHLAND PROTECTOR.  Simon and Ilsabeth enter the world today so give them a peek if you're so inclined.  I think you'll love them as I did.

Virgin Heroes and Experienced Heroines by Monica Burns

Before I get into my post, I’d like to thank Hannah for hosting me on her blog. It’s always a pleasure to be here. Speaking of pleasure, I’d like to invite everyone to a huge blog event starting January 17th through the 1st of March. More than 35 historical romance authors will be blogging at my blog during the Pleasure Me With Romance event. Hannah will be one of my guests, along with Sabrina Jeffries, an interview with Jayne Ann Krentz (Amanda Quick), Sarah MacLean, Jennifer Haymore, Julieanne MacLean, Lisa Valdez and many more of your favorite authors. There will be book giveaways, as well as a grand prize and other goodies up for grabs. You can visit http://monicaburns.blogspot.com/p/pleasure-me-with-romance-blog-event_28.html for more details.

Now on with the post! When it comes to romance heroes, many of us love an alpha male. We love how the heroine is strong enough to push back and eventually tame her man. Well, tame is a little bit of an overstatement. What alpha hero is ever really tame? That’s what we love about alpha heroes. It’s that raw, masculine predator wrapped up in tall, dark, and handsome that we love. A hero who’s willing to go to hell and back for his woman.

A little more than a year ago, I was getting ready to write my March 2011 release Pleasure Me. My editor and I had talked at a conference, and she’d asked me to make the hero a virgin. My initial on the outside was, umm…sure, I suppose I could. Inside I was thinking WTF? I write alpha heroes. How in the hell am I going to write an alpha male who’s never been with a woman. Who wasn’t to read a wimpy-butt hero who’s inexperienced? So I mulled it over for a few weeks. Eventually I came to the conclusion that I had to at least try and please my editor. After all, the editor is who will decide if I get another contract or not.

My initial thoughts about the hero were pretty cut and dried. I had only one requirement for a virginal hero. The reason for the hero’s virginal status had to be a logical one. I also had to have a reason that enabled me to make the hero an alpha while still keeping him untouched. So I did some research and came up with a medical reason that made my task a little easier. In the late Victorian era (just like now) it was important to the male ego that a man appeared strong, virile, manly, and above all sexual prowess in the bedroom. Any man who wasn’t these things was viewed as a possible homosexual or a weakling.

So, you can imagine what it must have been like for a man who is minus some of his private equipment. The idea of his manhood being questioned would be devastating to any man’s sense of self-worth. Baron Garrick Stratfield, my hero, is no exception to the need to appear strong and virile. But thanks to a vicious uncle Garrick is convinced that not even a whore will touch him, because he has only one testicle.

For the second piece of the puzzle, I needed an experienced woman who could teach the hero how to become a wonderful lover. My immediate choice was an older courtesan. Actually, I’d decided on an older courtesan BEFORE my editor “suggested” the virgin hero. I know there are some readers who might well balk at the idea of an older woman, younger male virgin hero. I totally understand that position. But the relationship between Ruth and Garrick might just surprise you. I know it did me.

What I loved so much about Ruth was her vulnerability and strength. Let’s face it, we all know that our looks and figures aren’t going to last forever (unless of course you’re a movie/TV star who can afford the pricey diets, plastic surgery, botox, personal trainers and exercise time). It’s tough enough being you and me, but for a woman whose livelihood is based on her looks, it’s even tougher. For me, Ruth epitomizes a woman who’s facing middle age knowing her days as a widely sought after courtesan are numbered. Suddenly, she’s forced to deal with impending retirement, and she has to do it alone.

Like most of us, Ruth doesn’t understand how time could pass so quickly. And when Garrick enters her life, things spin out of control. But spinning out of control can be a good thing if it involves a HEA. Pleasure Me is a story about two people who are convinced they’re one thing, but falling in love gives them new insight into the people they really are.

I’ve always enjoyed the dynamics of an older woman, younger man scenario, but adding in the virgin hero piece of the story made it a challenge to write. I’m really proud of the book. In fact, I just reread it for the second time in less than a month (edits), and I still love the story. Ruth and Garrick hold a special place in my heart.

So tell me, do you like older women, younger men story lines? What sort of age difference can you handle between the hero and the heroine? Do you like virgin heroes? What age do you think constitutes being over the hill?

Heating Up the Holiday Season

Hi. My name is Opal Carew and I write erotic romance. I’d like to thank Hannah for inviting me here today.

In October, Hannah, Terri Brisbin and I were up for the Golden Leaf award in the novella category, which was awarded at the New Jersey Put Your Heart in a Book conference. Hannah won and she’s now in the hall of fame, which is so cool. I wound up winning in the single title category (thank heavens Hannah wasn’t entered in that category, too ;-P ) for FORBIDDEN HEAT. Now I have a lovely trophy sitting in my living room. Two would have been garish, right?

Other than bragging, which LeeAnn (a mutual friend) insisted I do because… well, she’s a sweetheart and likes everyone to know the good things that happen to people… anyway, other than bragging, I wondered what I should talk about today. I’m an author, so talking about my newest book makes sense. I thought I’d talk about two of my stories: PLEASURE BOUND , which comes out on December 7th, and, since it’s so near the holiday season, CHRISTMAS ANGEL, which came out on Christmas Eve last year.

PLEASURE BOUND is a story about Ty, a bad-boy turned Mr.-Nice-Guy who falls for Marie, the girl next door. Unfortunately, she falls for an ex-friend from Ty’s past. It’s a story about lasting friendship and being true to who you really are.

Here’s the blurb:

When Marie meets Zeke—a tattooed, motorcycle-riding bad boy with a body built for sin—she’s swept up in a torrid affair that rocks her world. He’s so different from the dependable Mr.-Nice-guy-types she’s always dated in the past—and after a few nights in his arms, she vows never to go back.

Little does she know that her best friend Ty, the quintessential Mr. Nice guy, is gearing up to make his move and finally admit his true feelings for her. When Ty learns that Marie thinks he’s “too nice” for her, he sets out to prove that he can be the overpowering Dominant she wants and overwhelm her senses in ways Zeke never could.

What Marie never expected to discover is that Zeke and Ty share a secret history together—one that changes everything she thought she knew about both men. A past that went far beyond the bounds of friendship…and now they’re about to take Marie beyond the bounds of pleasure…and into a world of soul-shattering ecstasy.

Sexy, eh? (Yeah, I’m Canadian.) So while PLEASURE BOUND will heat you up on a cold night (and since it hits -35 here in Ottawa, I know about cold nights), maybe you’re in the mood for a Christmas story. If so, CHRISTMAS ANGEL is short and sweet, in a hot, erotic kind of way, so it will also help keep you and your sweetie warm.

I thought I’d tell you how I came up with the idea for CHRISTMAS ANGEL. I love to collect Christmas angels which I set around the house during the holiday season. (I included some pictures in a blog last Christmas. Click here to check them out. )

A few years ago, when I was packing away my angels after the holidays, I thought about how sad it was that they are packed up in a dark box all year long, then just come out for a few precious weeks over the holidays. (Yes, I tend to anthropomorphize a little too much. I even have trouble gift wrapping a stuffed animal!) This triggered the idea for CHRISTMAS ANGEL. What if a woman had been cursed to be a Christmas treetop angel… only to see the light of day for a week or so each year. To feel emotions, but not to feel the touch of another human. To never be touched by love. The story opens when that sad, lonely woman is given a chance to recover her life, but at a terrible price.

Now, just in case you’re not convinced to run right out and read it, here’s what the reviewers had to say:

"The Christmas Angel is an enchanting story that springs with incredible emotions. [Opal Carew] weaves a delicious tale with believability, tender love and affection that laces with electric sparks. She pens a most remarkable read that will make you cry, laugh and applaud with elation while making your heart leap. I love every story that she fashions."

The Romance Studio

"This book is full of emotions… it enthralled me with the passion. All in all, THE CHRISTMAS ANGEL was a most wonderful story. It makes you believe in miracles, laugh, cry and then shout for joy. Since this is the first book I have read from [Opal Carew], I look forward to reading more of her books."

Romance Junkies

"…interesting plot twist on a Christmas story… heart wrenching… a powerful addition to the romance holiday genre and one sure to please the most avid of readers and romance enthusiasts."

Fallen Angel Reviews

If you’d like to learn more about me or my books, please visit me at http://www.opalcarew.com/, or read an excerpt of PLEASURE BOUND or CHRISTMAS ANGEL.

Thanks again to Hannah for allowing me to share with you, and I hope you have a great holiday season.

Introducing Vanessa deHart author of NO MORE LIES

What can I say about myself that’s not been said before?

Let’s see… I was born a little girl (inside I’m still a little girl), I daydreamed my way through my teen years (and I still daydream), and I’m pretty well passionate about everything I do (I haven’t heard my husband complain too much about that!).

Enough said on that subject. Life is to be embraced, along with kids, puppies and grandparents.

On writing:

I write because I have to. Characters invade my daydreams and refuse to leave until I’ve told their story. End of story.

I invite you now to come along and share with me one of my many daydreams. I hope you enjoy reading this story as much as I enjoyed writing it.

PS:

If I were to share one little nugget of wisdom that I picked up during the writing process of this particular story, it would be this – never give up. NO MORE LIES is the first novel I ever wrote, and yet it is the fourth book of mine to get published. In its original incarnation, it was poorly written and full of ‘purple prose’, but all that aside, I believed in the story and the characters who were telling it. I just had to return to it again and again, putting it through a major rewrite every time I learned something new. And learn I did. Not just about the writing process, but about life and the human condition. The people I met while researching Elora’s tragedies and triumphs taught me so much about perseverance, about never giving up. Elora is alive because of them.

NO MORE LIES is a heart-warming romance set in the small town of Lunenburg, Nova Scotia. It’s about a recently handicapped woman who must learn that her self worth doesn’t exist in her looks or in her performance, but rather, in the strength of her character, and that no amount of lying can hide that ultimate truth.

Elora St. James, a professional figure skater, was the world’s darling until disaster struck. Now she’s hiding from the world in a small fishing village in Nova Scotia, pretending to be someone she’s not. Maybe, if she hid behind enough lies…

Dan Barrington-Smith, the youngest son of a wealthy family, no longer wants to be associated with his influential family. He wants to be accepted for himself. Dan decides to break away and go incognito on a golfing spree. Maybe, if he hid behind enough lies…

And so the lies begin.

Elora and Dan meet in Lunenburg. She manages the hotel his family owns while he’s in town to golf. Their first two encounters seem small and inconsequential, but both times there is an instant awareness between them. Something out of the ordinary begins to happen. In every encounter the passion escalates even as the lies expand, until they’ve run out of lies to tell.

And once the lies run out, all that remains is the truth.

NO MORE LIES by Vanessa deHart

From his comment, Elora deduced that Danny was a guest at the hotel. That rendered him safe; he wouldn’t be staying for long. Just long enough for a bit of flirting, long enough to soothe her bruised spirit.

“Shall I bring a menu?” Perry asked.

Elora looked at Danny. “Have you eaten yet?” she asked.

“No.”

“Hungry?”

“Ravenous.” His wolfish grin made her stomach do a flip. Maybe dining with him wasn’t quite as safe as she’d supposed.

“Have Boris prepare two complete specials,” Elora instructed Perry. She hoped her long-time friend couldn’t see how Danny’s seemingly innocuous comment affected her. “And bring us whatever wines are recommended to accompany the various courses.” Perry gave a curt nod with his head and withdrew.

Danny asked, “Are you trying to impress me?”

Elora arched an eyebrow. “Is it working?”

“What if I said yes?”

Elora felt the warmth stain her cheeks. “Good.” She saluted him with her drink. “I’d hoped we could put that first meeting behind us and start over again in a more civilized fashion.” She intentionally omitted any mention of their second meeting.

“Oh, but I liked our first meeting.” A devilish light glinted in Danny’s eyes. “I got to hold you in my arms right away.”

Elora felt a slow burn heat up her insides, and she doubted that the sip of alcohol had anything to do with it. She knew she was playing a dangerous game tonight, and she loved every minute of it. It had been so long since she’d felt desirable.

“Work all done for the day?” Danny asked.

“Yes,” she replied without offering any further explanation. “How was your game?” she asked in a blatant attempt to change the subject.

Danny laughed and took a swallow from his own drink. Playing with the glass on the table he answered, “Invigorating. It was a much more challenging course than I’d expected. Though it would have been a lot more fun with company.” The soft glow of candlelight highlighted his chiselled features and turned his eyes to molten silver.

“You’d want to share your frustration with an audience?” Elora toyed with the skewered lime in her drink.

“What frustration?”

“Are you going to tell me that the Lady of the Lake didn’t lure away any of your golf balls?”

“How did you know?” Danny leaned back looking somewhat discomfited by her comment.

Elora laughed. “That hole is infamous for stealing favourite balls. Hundreds get dredged up from there every season. Never mind the bent clubs Jackie has to try and straighten out.”

“Tell you what,” Danny said. “I’ll practice. And once I’ve perfected that hole, I’ll invite you out.”

Elora doubted very much that that would ever happen, but she raised her glass in acceptance of his chivalric invitation anyway. It wouldn’t hurt to pretend, would it?

To Purchase a copy of NO MORE LIES

Characters - and I mean the ones on the page.

And - no - the picture has nothing to do with what I'm about to say.  It just makes me smile.  I could say that's me - plotting.  Wouldn't be that far from the truth.

Went to the New Jersey Romance Writers conference last weekend where I got the Golden Leaf Award for my novella The Beast Within from the anthology Highland Beast.  That was my third one so I'm now in the Hall of Fame. Very nice.  Thank you, New Jersey.  Also did a talk on characters.  Unfortunately, I was slated for right after Saturday's breakfast and my 45 minutes shrunk to a half hour or less.  Didn't get to talk on one part of my ideas on what to do to make your character memorable so thought I'd do it here.  Contain your excitement.  LOL.

What I didn't get to was something I read in an old article by Jack M. Bickman called the Core of Characterization(Writer's Digest, 11/89)  In it he talked about a character's self-concept.  That is - what we do in order to be consistant with who and what we think we are.  It's our total self-view.  It drives people to choose where they live, who they know, and even to pick their goals.  Even if people do something that appears contradictory to others, it will make sense to them in terms of their self-concept.  That man who rushes into a burning building to save a child might never call himself a hero or even think of himself as such but he has always thought of himself as a man who loves children or even one who will do what has to be done.  That man who sees himself as brave could suddenly be confronted by a threat so humongeous that another part of his self-concept kicks in to say - I'm brave all right, but I'm not suicidal.

The thing is that people will know their self-concept, clearly or dimly, and it's actually easily revealed.  Most of us will simply blurt it out.  A character can actually characterize himself if given a chance.  Put a little pressure on him to explain his motives and he'll blurt out his self-concept every time.  I'm a man of action. I'm a lady of quality.  I'm a CEO.  I'm an earl.  I'm a mother.  I'm an athlete.  I'm a writer.  I'm too sexy for my shirt.(sorry. Couldn't help myself) So - by defining your character's self-concept you now begin to define his personal setting.  A woman who sees herself as powerful and assertive will dress a certain way, drive a certain type of car, even have a certain type of job.  A woman who describes herself as a wife and mother will surround herself with things that bolster that image.  As you develop the setting to fit your character's self concept the reader will begin to see clues to her basic personality.

So - once you've done that and everything is set up to fit the character's idea of who or what she is - introduce(cue tense movie music here) CHANGE.  Put that lovely life and her views of the world under as much pressure as you can.  You want something to make her have to struggle to readjust or fight to make her environment fit her self-image again.  She'll now pick a goal meant to fix things. People aren't comfortable when their self-concept is messed with and we wouldn't want our characters to be comfortable, would we.

Paranormals are an excellent example of how that can work.  You have your nice 21st century cynic who lost all belief in those darling or dangerous fairy-tale characters by the time she was in grade school and then - slap - a vampire, shapeshifter, or some fey character strides into her life and begins to shatter all her preconceived ideas of her little world and endanger her self-concept.  You know - the one that says she is a modern rational woman who believes in science and fact.  Lots of readjusting needed there.  The single soccer mom who suddenly discovers her safe, cozy little suburb is actually crawling with denizons of the dark.  Oh, yuh, let's just mess with her head some more.

The upshot is that, if you know what your character's self-concept is, you'll know what her fight should be about, why she's in pain, or even why she's ready to fight.  A person out of her element feels pain.  Once your story gets that lovely threatening, uncomfortable change all set up, you have to keep your characters motivated by piling on more changes that threaten their self-concepts and keep them miserable.(part of the evil fun of being a writer)  Everyone will try to find some way to solve the problem that concurs with her self-concept.  That rational woman confronted with a shape-shifter will try to find some rational, scientific explanation to the problems he brings into her life.  The most interesting plot developments arise when you confront your character with problems in which her usual methods of operation simply won't work.  Even as she tries new things that old self-concept will be very slow to change.  Ex.:  That big, strong knight who sees himself as a skilled warrior and a man of honor finds himself in a bind where his sword won't help him and he just might have to bruise his extreme rules of honor to get out alive or save the woman he loves.

A character's self-concept provides you with two paths to finding and building that all important inner conflict - 1.  when you make the character's environment change, he'll be unhappy and stressed and struggle to right things
-2.  A person's self-concept isn't always a reflection of present reality.  We love our self-concept so much and cling to it so tightly, we may change without even realizing it.  When you confront your character with continuous proof that he's no longer who he kept insisting he was - you have tremendous internal conflict. (yummy)

Such moments of self-seeing are the times of profound character change.(getting tingly just thinking of it.)  It may even be that your character hasn't been aware of parts of his self-concept.  Until story developments push him into a corner, he never has to call upon those deeper aspects of his self-concept.  Here you give your character some important revelations.  You can then end by showing the ultimate face-off in which the character either reestablishes the equilibrium between his self-concept and his environmemnt or he fails to do so.  Or, play out a final scene in which your (exhausted, emotionally battered) character finally realizes that his self-concept is no longer congruent with reality and he begins to make some livesaving changes in that self-concept.  In the first case your character changes the story situation and the environment and harmony is restored. (said single soccer mom and her allies slaughter all the dark denizons in the burbs and plant roses)  In the second case - your character is forced to change and begin reestablishing the same kind of harmony with his new self-concept.(said single soccer mom marries the were-tiger and takes self-defense courses)

Once you clearly define your character's self-concept, you're well on your way to knowing exactly how to make that character act consistantly yet with a capacity to surprise.  And that's what'll keep the reader glued to the pages.

A bit longer than I thought.  Hope you stayed awake until you reached this point.