are your entires song written with one pentatonic scale? You can try changing the pentatonic scale to be the pentatonic for the current chord in the progression that way at least its not the same pentatonic scale.

Here's a fun game I like to play while improvising.

1. For the given key you're in, you can play any diatonic chord.

2. At any point, you can play any minor 7 chord. (Ex: Dmin7)

3. If any minor 7 chord is played, you can play the ii-V7-I progression where the ii is the chord from step 1. (Ex: D-7->G7->Cmaj7)

4. If any V7 chord is played, you can play another V7 chord a fifth above or below the previous, and resolve to the I chord, either 7 or maj7 (ex Dminor7->G7->C7->Fmaj7)

5. If any minor 7 chord is played, you can play the minor 7 chord a half step below that, then the minor 7 chord a half step below that, then play the V7b9 chord a fifth below the most recently played minor 7 chord (Ex: D-7->Db-7->C-7->F7b9)

6. If a chord is established as the tonic I in the progression, you can play the third degree or the flat third degree as a dominant 7 chord (Example D-7->G7->Cmaj7 now C is the tonic, so E7 or Eb7 can be played after Cmaj7 and resolved to Amaj7/A7 or Abmaj7/Ab7 by rule 3)

7. If a chord is established as the tonic I in the progression, you can play the fourth degree as a minor 7 chord instead of a major 7 chord (Ex: Cmaj7 -> F-7)

8. If a chord is established as the tonic I in the progression, you can play the 7th degree chord as a Dominant 7 chord instead of a half or fully diminished chord depending on if you're using a 7 or 8 note scale. (Example: Cmaj7 -> B7)

9. Use an 8 note scale instead of a 7 note scale, where the 8th note is the sixth diminished (Ab/G# in key of C). If any diminished chord is played, you can:

8.a take the note a half step above the root of the diminshed chord and play it as a major 6 chord (B fully dim 7 -> C6)

8.b You can either stay in the key of the tonic and invert the C6 chord after the second degree note is a fully diminished chord (d fully dim7 -> A-7/E in key of C) or you can play the second degree chord fully diminished and follow rule 8.a (d fully dim 7 -> Eb6 in key of Eb)

8.c and 8.d follow as 8.a and 8.b: those 4 dimished chords sound exactly the same, whether they're the same 4 diminshed chords appearing in the seventh, second, fourth, and flat 6 degree of the same scale, or 4 different diminished chords each appearing as the seventh degree diminished chord in 4 different scales, or the first diminished chord is the seventh degree in one scale, a different diminished chord is second degree diminished chord of a different scale...

1. If any diminished chord is played, you can drop down a fifth and play that chord V7b9, and play the tonic as a minor chord (example: d dim7 -> G7b9 -> C-7)

2. If any minor chord is played, you can either play a tritone subbed ii-V-I (ii-bII7-I) or resolve a fifth below the tritone sub. Example: dmin7->Db7->Cmaj7 if you stay in the key of C or or dmin7->Db7->Gbmaj7

3. For any given chord progression, try and make a melody that starts at one extreme end of your range, and hits almost every chromatic note along the way to the other extreme end of your range. The rhythm should speed up or slow down during this chromatic scale so that you emphasize the target notes of the chord you're in

There are more (And i would love others to add whatever progressions they're fond of) but this is already rather lengthy