A few things I've noticed about fantasy tropes, after years of reading more of this genre than is probably healthy:
The Dark Lord works when he's an idea that characters project onto, when he fills whatever shape their fear requires. Tolkien's Sauron barely appears in The Lord of the Rings. He has no dialogue, no scenes from his perspective, almost no physical description. That absence is the whole point.
Joe Abercrombie's contribution to fantasy wasn't grimdark. It was demonstrating that the tropes carry arguments. A Chosen One story told straight is making a claim about destiny and merit and who deserves power, and Abercrombie looked at that claim and decided to pick it apart in front of you, one bloody page at a time.
The farm boy protagonist isn't the problem. What kills it is a farm boy who leaves the village and turns out to be good at everything within a week. The farm boy who crosses the mountains and still can't light a fire properly, who gets swindled in his first city, who misreads every political situation he walks into for three hundred pages, that's the version worth writing.
Prophecy is the laziest form of foreshadowing because it does the reader's work for them. The best uses of prophecy are when the characters misread it or when the prophecy turns out to be true but means something nobody expected. A prophecy that says exactly what will happen and then that thing happens is just a spoiler with better typography.
Fantasy readers will believe in elves. They'll believe in sentient swords and talking trees and cities that float. They won't believe in a world where power has no cost. Economics matters even when the currency is mana.
"Ancient evil awakens" is a structural problem before it's a writing problem. An antagonist who was dormant for a thousand years has no relationship with your protagonist. There are no personal stakes, no history, no grudge that goes both ways. The best ancient evils have a reason to care about this particular person in this particular age.
Robin Hobb spent three books making Fitz Chivalry the most frustrating protagonist in fantasy. He can see the right path. He won't take it. He makes every wrong choice, doubles down on the wrong choices, and the reader keeps turning pages because Hobb understood something about consistency of character that most writers miss. You'll follow a character you understand. The question Hobb kept asking is whether the character's choices, however infuriating, are consistent with who they are.
The "magic is fading" plot is always about something else. Tolkien's Third Age, Erikson's Malazan Book of the Fallen. The magic fading is grief. It's what the world loses when it stops being wondrous, and most of us recognize that feeling from our own lives even if we can't name it.