Here’s a few more.
In a scene, the ability to find a natural “throughline” when it arises and spotlight it as the scene develops.
In a single session, the ability to notice when the players create hooks in the beginning of a game, to develop or “set” those hooks in mid game, and to pay them off late in game.
In a campaign, the ability to manage several hooks in multiple different tempos at the same time. In TV show language: scene arcs, episode arcs, multi-episode arcs, season arcs, and series arcs.
Nail the Ending
The most effective endings have a moment of external validation, reflect or recall something about the beginning, reverse something about the beginning, and hint at the future. The trick isn’t to cram all of this into the last 3 minutes of table time—it’s knowing when you’ve reached the beginning of the end and tossing this stuff in as you travel the the final scene, the final session, and final arc of a campaign.
Willingness to Leave Things Unanswered
For a while at least. Dungeon World calls it “Draw Maps, Leave Blanks.” GMs who are willing to keep beginner’s mind about their own plots and endings leave room for the magic of collaborative creation. You may not know why some NPC did some oddball thing that the dice made them do. Be willing to wait for the table to find the sense of it in the moment, rather than compulsively answering every question the second it arrives in the story. Let the question breathe like wine. Let it mature like a piece of meat hanging in a smokehouse.
Use Negative Space like an Artist
Sometimes the real power comes from what you leave unsaid, from what should happen but doesn’t. Capitalizing on those rare moments of Figure-Ground Reversal to create emotional investment of the players in their story world. Because they discovered a fact in their own head, instead of being told it. This also means knowing when to shut up.
Active Management of PC Expectations
Know what they expect to happen, and know when it’s time to give them what they expect exactly as they expect it, when to give them “the same but different”, and when to throw them a curveball. The storybook power of “things come in threes” can be your ally here. The third time something happens, it needs to finish an obvious progression, finish an observable evolution, or rock their socks off with something crazy that they should have expected—that seems so obvious now—but they just didn’t see coming until it happened.