How to use non-chord notes to enhance a melody

When composing melodies, there's a pitfall most of us songwriters and composers tend to fall into sooner or later throughout the process of writing a melody. Fitting neatly into a box. We tend to pay more attention to making sure the notes we emphasize are part of the chord that is being played in the harmony (being either the root, the 3rd, or the 5th) than using non-chord notes to fully develop and expand the horizons of what is possible under that particular chord in the harmony.

Melody (Chordal notes):

Underneath is an example. An E Major chord in the harmony with a melody emphasizing the root (E), the 3rd (G#), and the 5th (B). The chordal notes I emphasize are the ones in a sort of orangeish brownish diarrheaish color. Because these notes are the ones that make up the chord, they fit neatly and sound right. Now, don't get me wrong, there's nothing wrong with the melody and it does sound nice but perhaps it sounds a little too nice.

Melody (Suspended Notes):

Below, There's an example of an alternative to using these chordal notes. It's roughly the same melody but some of the notes emphasized are suspended notes (Either the 2nd, 4th, or 6th). This time the poop colored notes are the suspended notes I emphasize. Now the melody starts to sound more interesting as each time a suspended note is played, it leaves you hanging and waiting for the note to resolve to a close note that is part of the chord.

Melody (Chromaticism):

Below there's another example of non-chord notes one can use to improve a melody. Chromatic notes. The chromatic notes are the descending passage. Now, chromatic notes are tricky to use for a couple of reasons.

Firstly, they don't appeal to most people. Not because most people "have an untrained ear", as many people would say, but because they are not widely used in modern western music. Most of us haven't been brought up listening to music that uses lots of chromaticism so it's not something our ear is used to.

Secondly, it's important to only use chromaticism if you like the sound of it. There's no point in using chromatic passages or flourishes in your melodies because someone on the internet said you need to use chromatic notes to make a good melody. There's really only need to use chromaticism if you truly like the sound of it and think it enhances the melody.

Melody (Tritone):

Just like the chromatic notes, tritones (or augmented fourths or diminished fifths) are also hard to use effectively. In a major scale, you have 2 tritones. From the 3rd degree to the 7th degree and from the 7th degree to the 4th degree. If used effectively, These notes can provide a dark sinister color to an otherwise cheerful sounding melody. Below is an example of this. The tritone interval is the one in the shitty color.

Melody (All The Previous Things Combined):

Self-explanatory. Now, I believe in not making melodies overbearing and filled with stuff just for the sake of it however, this melody happens to sound nice when combining it with the suspended notes, the tritone interval, and the chromatic flourish. Here it is below!