Those are all good ideas. You can use some, or all, in a particular song, depending on the song. Each song is unique and requires attention to what the song actually needs.

Don't overlook the energy level in the song. I like to have a lower perceived energy feel to the verses and kick into high gear on the choruses and the bridge.

I like to simply call it forward motion. That means that I want some sort of forward movement in every section of the song. Something, no matter how subtle, needs to be different in the song as it moves from section to section. I've even split a verse in two using this method. It might be as subtle as the B3 organ coming in halfway through or it could be where the bass kicks in or some other instrument enters the overall picture. Swap the fill instruments in the verses. Maybe the first verse has guitar fills, make the next one have piano fills. Coming out of a powerful chorus into a sparse section with only the singer and an acoustic guitar followed immediately with a shot of silence, followed by the full band kicking back in...... very impactful. I used a few of these in a recent song called Liar. I'm always thinking as I'm writing, and producing, what can I do that sounds natural and adds interest to the song at this point?

You can find my music at:
www.herbhartley.com
Add nothing that adds nothing to the music.
You can make excuses or you can make progress but not both.

The magic you are looking for is in the work you are avoiding.