Tropes. Ya gotta luv 'em. Without them, we'd have no shorthand to convey information with pages of unnecessary narration that disrupts the flow of our stories. Based on stereotypes and cliches, they can help and they can hurt. When they help, it only bolsters the "contract" between writer and reader. When they hurt, they can say things about both the writer and the work you may not like. The trouble is, usually, that they weren't intentional. It's just that the trope popped into your head without really thinking about it and you followed it to develop your story.
The following list is 15 such tropes that I believe need to die a painful death, and none too soon.
In addition to my list below, are there any that really grate you like sand at the beach? Let me know in the comments below.
Sexist Tropes
1. Women are only good story fodder for being loved and being saved.
Thankfully, I see lots of evidence of this one changing, at least in commercial fiction from the big publishing houses. That's because they follow marketing trends and realize the world isn't the same place it was in the 1930s or 1950s (even much of the 1970s). However, I still see a lot of this used in independent and small-to-midsize houses that are trying to recapture the glory days of men's fiction. Guys, you can still be heroes without every woman in sight becoming the damsel in distress or love interest.
Ways to play off this trope to fix it: Twist it a little. Have the guy who sees every woman as a potential date get labeled a misogynist or creeper. Have the dude who assumes the woman is in trouble get his ass handed to him and have to be saved by her occasionally. Share the time as the hostage between the sexes to keep it balanced. Write heroic women instead of heroic men as your next protagonist.
2. Men who punch and shoot their way out of problems are the only real men.
This one is also a throwback to earlier adventure fiction, but it hasn't begun to show signs of fading. Today's TV and movies (not just books) are filled with the macho types who (while they might also have a brain) primarily use their fists and firearms to solve problems. Again, the world has changed and no matter what morons on Twitter (I'm still not calling it X) say, this outdated idea of the alpha male is no longer the prevailing goal for men. Men can be smart and caring too, and can even refuse to throw a punch. It won't make them less heroic.
Ways to play off this trope to fix it: Have the male hero use strategy and deduction rather than threats and fights to get what he's searching for. Watch a procedural thriller rather than a Jason Statham shoot-em-up next time you feel like taking in a movie. Have the smart guy in your story get the win and the glory. Embrace the regular guy as a hero.
3. The ability to kick, punch, or shoot are the only skills that make one an adventure hero.
This one is hot on the heels of the previous one, but it applies not only to males but to females as well. As the action/adventure genre started to change, they only updated the window dressing. Instead of kick-ass men beating the shit out of villains, writers created kick-ass women beating the shit out of villains. A side problem this has created is the "ball-buster" heroine who exists only to make men feel emasculated. Now, don't get me wrong, way too many incels feel that just about any powerful female character who doesn't need a man is a ball-buster, AND THEY'RE WRONG. Anyway, back to the point... there are far more heroic qualities than physical strength and military prowess.
Ways to play off this trope to fix it: It's similar to the ways mentioned above. Avoid writing women as men inside. Try to avoid writing men as cavemen inside. Embrace the other attributes of heroism such as honesty, loyalty, strategy, bravery, etc.
Homophobic Tropes
4. The gay best friend.
This one was a necessary stop-gap that initially helped writers and publishers embrace diversity and include gay and lesbian characters in their work. But it became more of a stop-period instead of a stop-gap. Writers and filmmakers became satisfied with gay side characters, in much the same way black characters started off relegated to servant or sidekick roles in books and movies. I'm convinced this trope remains primarily because it can be a safety net to keep writers from embracing the LGBTQIA+ character as the hero instead of a sideline character while still ticking a diversity box.
Ways to play off this trope to fix it: Go whole hog. Let the LGBTQIA+ character take the spotlight and be the protagonist. But do your homework. Don't write a stereotype. (Of course, this applies not to just protagonists but side characters as well. Don't be satisfied writing stereotypes. Talk to people. Get to know them.) Or write characters (main or otherwise) who are allies to the community or in their baby steps of learning to change if you don't feel you can do justice to writing a member of the community directly in an honest way.
5. All LGBTQIA+ characters must have at least one stereotypical trait so "norms" can tell they're not hetero.
This one was a shorthand that helped the writers who took advantage of the "gay best friend" tope. Remember that bit about getting to know people and doing your homework as a writer? Well, they didn't. Singling out certain so-called "flaming" traits allowed some writers to include gay caricatures without actually including gay characters. It was the equivalent of writing black men known only by their basketball prowess or lengthy endowments. It was, in a word, total bullshit. A high-pitched voice, coifed hair, or a bit of a swagger when you walk does not a gay character make. We need to do better.
Ways to play off this trope to fix it: This one is so easy. Step out of your comfort zone if needed. Get to know people. Learn that people are just people. Then write them that way. After all, there's no way all straight characters would want to be identified by bad hair or constantly lusting for each member of the opposite sex they encounter.
Racist Tropes
6. Skin tone or nationality has any bearing on the quality of one's character.
You would think this one would have died a long time ago, but sadly, traces of it remain. It's particularly easy to vilify someone of a nation your country sees as an enemy. In the '40s Nazis were an easy way to create a villain without having to give them any other traits than just being a Nazi. Some of that kind of thing is considered okay, but when just being German or just having a different pigmentation is your marker for being either a villain or even being a sort of saintly hero (simply by virtue of birth), that was what my kids like to call a "no bueno." It's more often applied to characters of Middle Eastern descent (the Muslim terrorist) today, particularly in thrillers. Or even the "Mexican Cartel" stereotype. The "noble savage" is a particularly overzealous usage of this trope, as if the addition of the word "noble" makes it any less offensive. On the other hand, assuming a lower character or intelligence for a dark-skinned or Asian character is more straightforwardly vile.
Ways to play off this trope to fix it: Stop. Just stop. Period. Stop it. Don't be an asshole. If you remotely think that this is a justifiable way to portray someone's internal character, go take some classes in being a good human being. A caveat -- if you are writing asshole characters, it's okay to let them think this way, but don't make it an admirable trait.
7. The white savior.
This one is an old one, but it still sticks around. We can trace it back to early adventure stories like She and Tarzan all the way to newer stories like Dances with Wolves, Avatar, and The Last Samurai. It started as a way for European writers to tell exciting stories about exotic locales while not having to learn much about the populations in those locales. It became terribly prominent in the world of comic books as well, with everyone from Sheena to Iron Fist embracing this trope. It actually has roots in the missionary zeal of early Protestantism, where "selfless" white men risked life and limb to go take the gospel to native peoples, all the while seeing them as a sort of lesser being in need of white culture and white religion to reach a higher, more civilized peak.
Ways to play off this trope to fix it: Flip it over on its ear. Have the so-called "exotic" be the savior to a group of white people. Have a member of the indigenous group rise up as the hero instead of having to bring in an outsider at all. Have the white guy in a strange land be the learner only and not the savior. Or have the self-proclaimed savior be a fake (The Man Who Would Be King) or just so inadequate to the task that he/she/they do more harm than good.
8. Indigenous locals are exotic and trigger some kind of "otherworld" intrigue.
If there's an indigenous group, they are special to the story in some kind of magical, supernatural, or extraordinary manner. Even the fantastic Indiana Jones flicks embrace this overdone and racist trope. There are two ways of approaching this trope, both of which need to end. The first is to add an indigenous group to your story when you need a "lost civilization" to trigger your hero's story beyond the gates of, well, maybe not Hell, but Normal. The second is to hide the weirdness and have a big reveal later that just proves the hero should have been on high alert around such a "not-normal" group he/she/they encountered. Fantasy can get away with this trope more often than other adventure stories because fantasy writers aren't limited by human races and skin colors and cultures and can custom create worlds and peoples. Phantastes and Alice in Wonderland are fantastic examples of this, one using fairy beings and the other using a whimsical world of animals and other strange beings such as playing cards.
Ways to play off this trope to fix it: Take the exotic out of indigenous. In order words, let them be your portal, but don't make them so other as to be weird. Let them be a normal small town with local businesses, not a voodoo village with people secreting the back alleys at night. Have the weird happen at home instead of "in a land far away." A lot of modern urban fantasy uses this fix effectively, such as Neverwhere.
Other Prejudiced Tropes
9. Priests/Clergy are always the villains.
As the world changes and becomes less religious (or at least less Christian) than it used to be, writers, who are particularly known for their more progressive ideas in many cases, started to turn the clergy into villains. We can see this in classics like The Hunchback of Notre Dame and in modern works like, well, the various evil nuns in horror films. Of course, there was noting wrong with the freedom to assign even the clergy the status of the bad guys. We see this in The Crucible and in the hundreds of witch-burning characters throughout the '60s Hammer explosion. The trouble comes with the trope's overuse. Nowadays, it's an automatic assumption that if there is a religious character (a priest, a preacher, a neighbor), he/she/they will be either the villain or at least a jerk.
Ways to play off this trope to fix it: It's okay to write anyone -- anyone! -- as the hero or villain. But don't stick to one type as your go-to for either. Keep readers guessing. Play against the trope. Is the aloof, quiet priest genuine or is he hiding something sinister? Is the religious woman next door really as bad as she lets on or does she have a trauma that is causing her to act that way? Just like when it comes to race or gender, people are people. Don't let a prejudice against religion cause you to fall into writing stereotypes whenever people of faith show up in your work.
10. The moral high ground is the most satisfying.
This one is the opposite of the previous trope. This is the one where writers make the assumption (without realizing it, most often) that the character with the moral high ground (often religiously motivated regardless of faith) is the happiest and most satisfied one. It can also be that this character becomes the most altruistic one. The idea comes from the notion that a person of some belief is a better, or at least happier person. There are years of European history behind this thought so it's not going away anytime soon. Not only that, but it is also typically applied to Buddhism and other Asian religions. That's a potentially dangerous pairing of this trope and that of "the exotic indigenous people" trope. But they're both hogwash. Statistics tell us that religious people have similar percentages of depression and divorce. And often the person who takes the so-called moral high ground invites only more stress and self-doubt into his/her/their life. Often, this trope plays out with the "sage" character in non-fantasy stories, as a character presented as the morally upright one is able to help and guide the protagonist to the best choice in the journey.
Ways to play off this trope to fix it: Let your moral folks be wrong, even when they believe they are right. This doesn't mean necessarily making them villains, just letting them fail to be the sage. Make them have to learn a lesson along the way too, even if they're just side characters. Allow them not to have answers or to confess doubts. Allow them to hurt. Allow them to hurt so much that they end up hurting others. Let them be human.
11. Heroes never make immoral choices. Villains never make moral ones.
This one I learned to avoid earlier as a writer. I had a writing mentor at the time share this helpful tidbit with me: Always give your hero at least one negative trait and always give your villain at least one positive trait. The same thing holds true for the choices your heroes and villains make. I know it was en vogue in the days of yore for villains to be all bad with no redeeming qualities and heroes to be all good (with white hats and all), but when you do that, your story suffers. This is one of the things I so loved about Haggard's She. Ayesha is a tyrant, yes, but she loves deeply, and even that positive love is her downfall as it leads to intense jealousy.
Ways to play off this trope to fix it: As my former mentor said, always give your hero at least one negative trait and always give your villain at least one positive trait. Let the hero choose selfishness, not always saintliness or even goodness. Let the villain choose benevolence, not always malevolence. Nobody is one thing and one thing only, no matter how easy that makes your plot. Think more deeply. Build more complex characters.
Overdone Tropes
12. The chosen one. Period.
This is probably my most hated trope. I am so sick of the chosen one. Don't tell me Buffy the Vampire Slayer got it right. It was overdone long before that even (as good as that show was, it would have been just as good without the "In every generation..." speech in the intro). It's even worse when it's an almost messianic character. Spielberg, for example, will go out of his way and risk a good movie just so he can put a "Christ-figure" in it (look no further than ET the Extraterrestrial and AI: Artificial Intelligence). There's nothing intrinsically wrong with it. But it has become the go-to story for fantasy and even some sci-fi nowadays. Need a plot for your epic novel series? Oh, you need a chosen one. IT'S JUST SO FREAKIN' OVERDONE. Can we please let Harry Potter and Wheel of Time be the nails in the coffin of this one and move on? Think of something new. Okay. Rant over.
Ways to play off this trope to fix it: If you actually want to use this trope, please, for god's sake, flip it somehow and make it your bitch. Let the chosen one get the calling wrong as in Life of Brian or Wholly Moses. But I still feel it's best to skip the chosen one completely and have the "well, you were available and willing" one rise to the occasion instead.
13. The unwilling hero who changes his/her/their mind to save the world.
Cozying up beside the chosen one is this way overcooked trope. It's not enough that he/she/they is chosen by prophecy or fate or God or the giant spaghetti monster from space, no, they also have to play out the same damn story in every novel, movie, and television series. It goes like this:
What do you mean, I'm chosen?
I don't want to be chosen.
I'm going to run away and not be chosen.
Then I have a lightbulb moment and I change my mind.
Okay, I'm ready to be the chosen one now.
OMG, there are other plots, you know.
Ways to play off this trope to fix it: Burn it. Okay, I'm kidding. If you insist on walking this old road, do the unthinkable and have the chosen one accept the calling and fail... badly. Maybe the hero has to be saved by a sideline character. Maybe the chosen one is a dupe who is being public to protect the real chosen one. Let a non-chosen one be the protagonist and keep the chosen one off to the side as a peripheral character.
14. Gunmen have an endless supply of bullets.
This one may be less of a trope and more of a cliche. But while everyone plays semantics, let's just say that Colonel Shoots-A-Lot should have run out of bullets, shells, cartridges, etc. by this point. That rifle doesn't hold that many bullets. That shotgun only shoots one or two shells at a time. And that automatic rifle runs out when the clip is empty. Besides, as a writer friend of mine pointed out recently, sometimes a reload scene can be cool too.
Ways to play off this trope to fix it: This one has an easy fix. Make sure your hero has extra ammo. Then give him/her/them a place to hide to reload. If anything, this downbeat will build more of a wave of pacing into your action scene. A wave needs peaks and valleys, after all, and slowing down your prose for a reload could be the magic your story needed.
15. Clever banter for the sake of being clever.
As much as I love the dialog of Buffy the Vampire Slayer and Tarantino films, it didn't take long for the talking everything about nothing to get old really fast. Dialog must serve your story. It must move the plot, show characterization, establish backstory or exposition, something!. If it can be easily cut from your story without affecting anything at all, well, if wasn't necessary. No matter how cutesy or witty it was. Now, that's not to say that characters can't talk around things that are important to them. Unlike in his poor imitations, that's what makes Tarantino's dialog work -- just like that of Ernest Hemingway and Raymond Carver. They understood that human beings will do almost anything to avoid talking about what's really on their minds.
Ways to play off this trope to fix it: You only have two options to fix this one that I can see. (1) Cut it. Just deal with the pain and snip the hell out of it and toss it in the trash or save it for a story where it might actually matter. Or, (2) rework it to make it both witty AND needed. Let it be the thing your characters use to avoid the thing they really need to discuss to save their marriage or to deal with one betraying the other and defecting to the enemy, that kind of thing.
I love this one. It's a trick that many folks don't realize is common in the big world of publishing and movies. It goes like this: Think of a classic. Let's go with Alice in Wonderland. Now put it in a different setting. Okay, how 'bout an urban landscape? Okay, now tell me the story from a different character's POV? 
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