Don’t have them die of old age after a long, fulfilling life. Many people don’t even think of this as sad (note that this can still work if you have enough of the other factors).
Leave one of their major goals unfinished. The more enthusiastic they are about completing the goal, the sadder.
Give them strong relationships with other characters.
Make them fight against whatever is causing their death. Their ultimate loss is sadder if they struggle.
Kill them in the middle of their character arc.
Don’t describe their funeral in detail. Maybe it’s just me, but I find that long descriptions of funerals kill the sadness.
When I’m in the shower:
mmmmMMmm. That’s some fine quality singin’ right there 👌👌👌👌👌MMMmm... I could be a professional.
In the real world:
WhaAT IS THIS UNHOLy SCREECHING??
I’d just like to say I am happy to be here with my family. My super weird family with two black dads, and two Latina daughters, and two white sons, and Gina.
hikaru no go is a whole gem
but as much as i like it, it’s been hard to reread it while remembering how unsatisfying the ending is....
also i don’t wanna get to the sad part and I’m really close
Playing the Meijin with a 15 moku handicap? 2 months of forfeits? 5-5, tengen, 5-5 opening in an important qualifier match? Replacing Touya as first board only in the match against Korea?
#oh, i don’t know #maybe your own sister
Favourite narrative tropes:
“That was ONE time!”
“Due to an administrative error”, or any major plot point which is caused almost entirely by bureaucratic fuckups
“Contrary to popular belief” appended to something that’s either really obvious or completely subjective
A character makes an assertion, then cut to the narrator contradicting it (‘“Everything’s fine!” Everything was not fine.’)
First-person narrators who call a specific character by a series of increasingly convoluted nicknames
Unusual narrative euphemisms. I still hold that describing around a curse word is almost always funnier than just using the word.
Establishing character moments which subvert your expectations right from the get-go. The best example is in the Brooklyn Nine Nine pilot, where Jake’s fooling around at the crime scene before revealing that he’s already solved the case.
Montages. Just montages of any kind, for any reason, anytime. I actually think they work better in text form because you can do so many creative things with them.
Side characters with a level of fourth-wall awareness / quasi-supernatural ability which is never quite certain, like the janitor in Scrubs.
Double meanings in narration that take a while to make themselves clear.
Really, really specific similes.