I've been wondering how each of you manage the Act under fire that come out of the Manipulate move (the stick). I can imagine some cases, but not the majority. I tried several hypothetical situations, and came to the conclusion that I would be totally lost if this was to happen in a game. I'll provide examples later, but now I'll explain more generally what's bothering me.
This move result has a similar problem than the result of Healing touch, that of a forced Act under fire with no fire coming first from fiction. But where Healing touch is a very specific situation, Manipulate cover a huge bunch of cases.

Examples :
- Dremmer is pointing his gun at Dawn, who is holding a blade on the throat of Dremmer's daughter. Dawn wants to run away from the town, and demand that Dremmer put his gun aside (acting with the leverage of the daughter as hostage), and chose the stick. If Dremmer's player says he shoots anyway, I can create a fictional reason for Acting under fire. The fact that his daughter is held as a shield is making him hesitate and wait for an opportunity, so the fire is that Dawn reach cover before he can Go Aggro (would it be Go Aggro, by the way ?).
For situation with immediate dangers and hot action stakes, I think I can find reasons to act under fire pretty easily. I'm a little weirded out by the necessity to create fiction that enable a move, which is unheard of in AW otherwise, but that's all.

- Felicia the Hardholder is asking Beef the Angel to heal her sister June, who is feverish and dying. Felicia Manipulates him with the leverage of social position, and chooses the stick. Beef doesn't want to approach June, because he thinks she's contagious.
What could possibly be the fire ? When does he make the roll ?

- Helios the Skinner is asking Beef the Angel to heal her sister June, who is feverish and dying. Helios Manipulates him with the leverage of sex (it has been previously stated that Beef was attracted by Helios thin naked torso), and chooses the stick. Beef doesn't want to approach June, because he thinks she's contagious.
What could possibly be the fire ? When does he make the roll ?

When the consequences of hesitation, doubt aren't immediately dangerous and because the fire cannot be something that force a feeling or thought in a PC's head, I am totally stuck for this cases. How do you manage internal feelings and doubt ? Do you put them at stake mechanically ? What would be the results ?
But even in action cases, I'd like a set of guidelines to have it easy.

Thanks in advance.

PS : For the record, I am aware of these related topics where I posted, but they are outdated by far, and my experience made my thoughts evolve. However, they can expand the vision of my problem.
http://apocalypse-world.com/forums/index.php?topic=214.0
http://apocalypse-world.com/forums/index.php?topic=446.0

Ok, I'm not dumb, thanks. I was not asking because I can't "just" describe, but because I'm trying to understand the conversation structure created by the rules in AW.
And as far as I know, it's written "Whenever there's a pause in the conversation and everyone looks to you to say something, choose one of these things and say it", so I assumed the MC never do anything apart from using moves. Until that question came out to me, it felt like it covers pretty much everything, so the all-is-a-move rule was conceivable. But if a player looks to me to say something after he entered the Brainer flat, I need to take a move, by the rules.

Now that Vincent himself announces that a MC does say things beyond moves, I'm a bit lost. It seems that the rules I just quoted is wrong. So when do you use a move, and when do you not ?

It has been 4 sessions, and I was not able to find any opportunity for a triangle. They all face the world together, even as they believe and behave differently.

The PC :
- Sundown, the Brainer. He psychically manipulate people into giving him their food.
- Shade, the Skinner. A cow-girl who dance (and more ?) in the saloon for a living.
- Ruth, the Angel. A mad doctor who experiments on anything/anyone unclaimed.
- Marcus, the Gunlugger. A big tribal guy, with a MG and a machette.
- Fate, the Hocus. His twenty followers believe in the fatality of life, and disdain possessions. They have to eat, though, and can go into wild savagery for it.
- Camille, the Savvyhead. A little boy/girl (ambiguous) hiding in his/her workspace, tinkering with electronics and sensors.

Their relations :
- Marcus and Sundown are both disciples of Fate.
- Marcus and Shade are lovers, but Shade soon bind him to her, and she dominates the couple. He is jealous and violent, but she makes sure not to cross the line in front of him.
- Fate secretly loves Shade, but his beliefs and Marcus stop him from following his sentiments.
- Shade and Sundown are friends.
- Fate knows very much Ruth, and has seen the truth in her soul.
- Ruth feels Marcus self destructive.
- Camille finds Ruth the most strange and resents the violence of Marcus.

The community :
- The 20 disciples, the PCs, the two Angel's assistants and the saloon owner (Jack) is all the community
- They earn resources by trading with all the travelers (it's on an important road between other communities)
- A deep fog surrounds the hills composing the landscape, and nobody ever returned from it. So nobody knows what is in the valleys.

The recent events :
- A part of a gang of bikers has arrived in the town, and it all lead to big trouble. First, they broke a statue belonging to the Hocus faith, so all the community tried to killed them. But as another biker offered to repair it, all went well.
- The followers, from hunger, push to kill the bikers and take their stuff.
- Finally, the biker boss and his lieutenants were taken to jail, and the PCs tried to find their base camp (to take the food), but I had already decided that they live in the fog, knowing paths to travel it. So the food-taking assault isn't an option anymore.
- They found a Gollum in a scrap yard, a nearly blind creature that eat rats and is very sneaky. Everyone think he/it has a contagious disease.
- Marcus stopped a follower, Rice, from taking one of his guns and devastate Ruth's infirmary to find food.
- Jack doesn't want any issues of violence with his customers, and continually asks the PCs to stay far from the saloon when doing their shit.
- Sundown has followed Gollum during one of his/its walk outside the town. He discovered that the creature steals food from another community, and offer it to Shade. There, he met Last, a young girl who proved really interested in following him into the fog, and he accepted (he lied and told her he lived in the fog).

But I failed entirely in providing tension between the PCs. Entirely. They behave like any classic dungeon party, with the classic twist that they have their little secrets, but nothing too big to severe the relationships. They share information and try to defend the community, they plan and act toward that. I hate that, I came into AW to fly away from classicism.

I tried very hard, last time, by searching for things a PC wants, that a NPC can give, but at the expense of another PC.
And find nothing significant. They all want power, in their own fashion, but they won't take it if it means being chased by the rest of the community. Their personal goals seem to stop right in front of their roles in the community. Even their belief is not a reason of conflict, because there is this couple Marcus/Shade, that seems to glorify openness, and I don't want openness in AW.

What can I do ?

Have you got some deeper and clearer advice than "try to make PC-NPC-PC triangles" ?

This hack is a great idea, I'm following its advancement.

My first two session ended without a fight, and the PCs are all together against an external threat. I really should include an internal threat, but it's tougher.

Also, I have asked for no more than 3 or 4 Move rolls, and there is way too much discussion/plan between PC to advance the fiction.

I have the feeling that we are too close to classic party rpgs, and I don't like that.

MCing is really harder than I thought...

To me, the Act Under Fire applies to the very non-action that the PC wanted him to do, not to the other action he's doing in place of it. It's the refusing that is hard, not the replacement act.
And in my opinion, the fire is the culpability feeling, the self-loathing, the inner conflicting desires that are burning in the character's head.

Right, but conflicts are the meat of Situation (a Situation without conflict would be pretty tasteless, and no player would want to Explore it), so escalating is just Exploring more Situation, by letting it spread onto several conflicts or scenes. So in my opinion, even in the purpose of reveal, escalate and resolve conflicts, it sure can be pure Exploration, and so Right To Dream play. Conflicts are exciting.
I'm not sure, but are you trying to tell me that a bunch of conflicts makes Story Now ?

To understand completely my examples selection : I've chosen not to include situations where my interest obviously comes from theme or thematic choices. So I show only situations where the interesting elements are not related to theme, or so I think : you can prove me I'm wrong and all interest comes from theme.