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Source: https://writers.stackexchange.com/a/21689
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/21689
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

The trick is to link his internal flaws and deliberations to clear, concrete details. That gives him something to **do** , something to engage with. It gives him a way to express his character.

In this case, he's conflicted about entering the forest. That means you want one or two very specific things that he **wants** to find in the forest, and also one or two very specific things that he is **afraid** of finding in the forest.

- If he's hoping to find a unicorn, but is afraid of bandits, maybe he'll try to hide in a bush and listen to the forest, to help him decide what to choose.
- If he's looking for a safe place to hide from somebody but he's afraid of getting lost, maybe he'll start by edging along the forest, constantly considering hiding places and rejecting them, steeling himself (or faltering) to step inside.
- If he's hoping to find buried treasure but is afraid of deadly forest-ghosts, then maybe he'll buy a bunch of charms and protection spells -- on credit, and then feel miserable if he's still afraid to go in.

--and so on.

"Wants to know what's inside" is a somewhat weak motivation on its own - unless you additionally provide some enticing rumors or suggestions, _specifics_ that give your protagonist specific goals and threats to deal with. Or, maybe the specifics are in your character's personality - maybe he's superstitious, and trying to prove his own bravery. Maybe he's in love, and thinks the seldom-visited forest will undoubtedly have something strange and wonderful that would make a special present.

Any of these gives you concrete details - which gives you some immediate, concrete problems and balances for your character to deal with. Showing _how_ your character deals with a concrete problem relating to his central tension is much more effective than simply having him waffle between to extremes which remain abstract.

Original score: 4