To put it in old-school terms, you have a good negative here. It just needs to be printed properly. That means local manipulation of brightness and contrast. I can give you some suggestions that will allow to to create my picture, but it would be best for all concerned if I gave you some suggestions that will allow you to create your picture.
First off, the light is pretty flat. That is both a blessing and a curse. It allowed you to capture the entire scene in great detail (that'd be one of the "blessings"), but it also means that there isn't much that's either emphasized by the light or nearly lost in shadow. The viewer's eye is free to wander, with few stopping points, rest areas or tourist lookouts. That means that you have to create what a more contrasty light (at exactly the right time of day, right day of the year, etc.) might have provided for free. But since you are in charge, you can actually do a better job of arranging things deliberately than nature would have done accidentally. Remember, the "negative" is the score, but the "print" is the performance, even in the digital world.
The first and best bit of advice I'd give to anybody when they're thinking about playing with a picture is to kill the small stuff so that you can see the big picture. Zoom out so that the picture is no more than a large thumbnail. Blur it a bit. Make it black and white. Flop it horizontally. Look at the black and white as a negative. Look for shape and "gesture", for balance or unsteadiness (without letting things get too stodgy or "apathetic"). (Remember to do all of this on a copy of your image.) You will usually see things that maybe shouldn't be there, and places where there really needs to be something more — a deeper shadow, or a splash of highlight, or a broken line of tone that needs to become a single stroke.
If you're working an a layered image editor, use a new blank layer to sketch out the problems/deficiencies. Then when you return to the proper-sized, unblurred image, look for the things in your image that correspond to the problems (or potential improvements) that you found when looking at the "big picture". You'll likely find shadows you can deepen, or tufts of foliage that need to be slightly brighter (or more colourful, or what have you).
If your image editor allows it, make all of these adjustments using separate layers. Lots of them. (In the old days, we'd have no choice but to make a print and take notes, knowing that the first print or three will probably be trashed.) Leave the picture alone for a while, long enough that you are no longer invested in the process you were following (and have at least partially forgotten what it looked like). Fresh eyes are your friend. If you still like the picture a week or two later, you're probably done. (Until you see it again two years from now and ask yourself what you were thinking, of course. Our tastes change over time, and revisiting old photographs almost always begs a change.) If you don't like it so much, you can still change things, usually without having to trash all of your work, if you've used individual (masked) layers to handle individual adjustments.