* Creator/RussellTDavies has a penchant for using the names "Tyler", "Rose", "Delaney", "Donna", "Harkness" and "Jones" (most evident in "The Stolen Earth", which features ''four pre-existing'' Joneses). He likes to reference Ipswich. Ominous references to "the darkness" and "something is coming" abound. He often criticises religion and has a love of Humanist monologues ("Indomitable!"). He's prone to excessive use of TechnoBabble in his ''Series/DoctorWho'' stories, though for ''Who'', this is no new thing.
** Of course, some ''Series/DoctorWho'' fans complain that RTD doesn't use ''enough'' TechnoBabble, claiming his sketchy explanations for whatever effect he wants to produce might as well be "AWizardDidIt". Major offenders include the "anti-plastic" in "Rose" and every DeusExMachina season finale.
** Fans often seem divided by his assumed "Gay Agenda", with everything from jokes from gay culture to same-sex kisses having found their way into his four ''Series/DoctorWho'' series.
** For an atheist, RTD won an award for irony when "Gridlock" (featuring renditions of "The Old Rugged Cross" and "Abide With Me") got nominated by a religious group for a prize for [[http://www.digitalspy.co.uk/cult/a88328/doctor-who-nominated-for-epiphany-prize.html promoting Biblical values]].
*** Although his work is noticeably stuffed full of religious imagery. Notable examples include "Last of the Time Lords" (the Doctor being rejuvenated by the entire populace of Earth praying for him, flying over the evil Master, then hugging him and saying "I forgive you.") and Torchwood's "End of Days" (essentially the same thing, with resurrected Jack forgiving the doubting Owen after... well, killing the Devil.) Davies' drama "The Second Coming" was nothing but religion, though of the kind that takes Nietzsche ''very'' literally...
** And who could forget the moment in RTD's second ever episode of ''Doctor Who'', "The End of the World", when we see the Earth burning away beneath a giant glowing space station [[http://img.photobucket.com/albums/v83/Kasterborous/Others/EotW.png ''in the shape of a crucifix''...]]
** He also likes to use [[OverusedRunningGag repetitive jokes]], pop-culture references (often to reality TV and often appealing to the LowestCommonDenominator), and extraneous guest stars. Although '80's ''Series/DoctorWho'' also tended to have a lot of name guest stars.
* Another ''Doctor Who'' writer and current Show-Runner, Creator/StevenMoffat, definitely has one. Expect MoodWhiplash UpToEleven, light humour, horrors untold, a hint of romance and sexuality and extensive use of the TimeyWimeyBall. He also writes like ''Who'' is a dark fairytale.
** Another extremely apparent stylistic choice of his is phrase repetition. For example, "Hey, who turned out the lights?", "She is not complete", "Silence will fall", "Are you my mummy?", "Hello sweetie", "Spoilers", "Don't blink' - and that's just a few of the many, MANY Doctor Who examples, each repeated anywhere from about five to fifty times an episode. It's effective until you notice it, then it becomes a liver-destroying drinking game.
** Moffat also seems to love sitcom-esque dialogue. His characters never miss a chance to be witty. Unless, of course, the joke is momentary awkwardness (see: any time Eleven says something dorky.)
** Moffat uses BuffySpeak ''a lot'', often using it in lieu of TechnoBabble, which he ''hates''. He also lets his characters be very comedic, even when faced with a deadly danger. [[DeadpanSnarker Snarkers]] and [[ButtMonkey Butt Monkeys]] are evident too.
** He also includes children and childish/primal fears in his story lines.
** A lot of the dialogue he writes, especially when it gets into the TechnoBabble and BuffySpeak, tends to have a LOT of pauses and MotorMouth moments. See: the Tenth Doctor and Tintin & Haddock in the film version of ''Film/{{Tintin}}'' (especially [[spoiler: when Haddock is telling the story of the Unicorn]]).
* Creator/JossWhedon cannot get by without at least one [[CuteBruiser superpowered tiny female character]], a tendency to put likeable characters through the {{Wangst}} gauntlet, and an almost contractual BittersweetEnding (at best).
** [[http://blog.hulu.com/2009/3/6/joss-whedon He's not below]] [[LampshadeHanging hanging a lampshade]] on this:
*** "I tend to focus on one character (perhaps a young woman of unnatural abilities, to pull an example randomly out of nowhere) and then the other characters are built from the needs of that character's journey."
--->There's been a lot of comparison to the story of Echo being a sort of warped interpretation of the River Tam story, do you agree/disagree? -- Vivienne
---->It wasn't meant that way, but I do have my little obsessions...
** He's also fond of naming characters after things; just as a random sampling, Angel, Spike, Willow, Dawn, Faith, Glory, Harmony, Gunn, Jasmine, River, Wash, and Book.
*** Joss' middle name is Hill. And now you know.
*** Plus, the Actives in ''{{Dollhouse}}'' follow ThemeNaming: Los Angeles uses the US military alphabet (e.g. Alpha, Echo, Victor, and Sierra), while DC uses Greek gods.
** His penchant for snappy dialogue, snarkasm, and BuffySpeak is very distinctive. He did some ScriptDoctor work on the script of the first ''Comicbook/{{X-Men}}'' movie, but only two exchanges of dialogue made it to the final cut, and one of them has his fingerprints all over it:
--->'''Wolverine:''' Hey! It's me.
--->'''Cyclops:''' Prove it!
--->'''Wolverine:''' You're a dick.
--->'''Cyclops:''' ''[Shrugs, nods.]'' Okay.
*** The other, Storm's line about a toad getting hit by lightning, doesn't seem like his style; however, before his contributions were reduced, it was the deadpan climax to a highly Whedonesque RunningGag.
*** In ''Disney/AtlantisTheLostEmpire'', it's ''extremely'' obvious which lines Whedon wrote. A sample Whedonesque line:
---->Milo: Will you look at the size of this? It's gotta be a half mile high, at least. It must have taken hundred -- no, thousands of years to carve this thing!
---->Column: BOOM!
---->Vinny: Look, I made a bridge. It only took me, like, what? Ten seconds? Eleven, tops.
*** The [[TheGuardsMustBeCrazy "intelligent guard"]] exchange in ''WesternAnimation/TitanAE''.
** His penchant for WomenInRefrigerators (or perhaps just AnyoneCanDie in general) is [[LampshadeHanging called out]] during the Dr. Horrible Comic-Con panel: "You kill a lot of chicks."
** He also constantly subverts audience expectations, destroys happy relationships, and is the master of MoodWhiplash.
** In every series finale he will kill two major characters. One will have a somewhat extended death scene, the other will be [[DroppedABridgeOnHim killed with no warning]]:
*** ''Series/BuffyTheVampireSlayer'': [[spoiler:Anya dies suddenly, Spike gets an extended death.]]
*** ''Series/{{Angel}}'': [[spoiler:Lindsey dies suddenly, Wesley gets an extended death.]]
*** ''Series/{{Firefly}}'' (counting ''Film/{{Serenity}}'' as the series finale): [[spoiler:Book gets an extended death, Wash dies suddenly.]]
*** ''{{Dollhouse}}'': [[spoiler:Ballard dies suddenly, Topher gets an extended death.]]
*** This also holds true for Buffy's Season Five finale, which was originally intended to be the series finale: [[spoiler:Ben dies suddenly, Buffy gets an extended death.]]
** ''Very'' fond of creating loveable characters then torturing them as much as he possibly can.
** Finally, whenever he directs, look out for some ambitious [[{{Oner}} Oners,]] as seen in ''Serenity'', ''The Avengers'', and quite a few TV episodes.
* NichelleNichols once accused GeneRoddenberry that ''{{Series/Star Trek|The Original Series}}'' was just "morality plays in space!" His response was; "so?"
** This style rubbed off on almost everyone who wrote for Trek over the years. Most notably Gene Roddenberry, Gene L Coon, and D.C. Fontana, but Michael Piller, Rick Berman, Branon Braga - all the big names got their shot at it.
** Even some Trek staff writers developed one. Is it leaning heavily towards military sci-fi and riding the lines between WarIsGlorious and WarIsHell? Does [[CreatorsPet Worf]] end up with several [=CMOAs=]? Is the morality leaning towards GrayAndGrayMorality or BlackandGrayMorality? The episode was penned by Ron Moore. Is it a relatively low-key episode where the conflict and drama is more character-based, with BlackAndWhiteMorality or WhiteAndGrayMorality? You've likely hit a Jeri Taylor script. Is the damn thing a first-rate MindScrew where you ''might'' figure out what's going on by Act 5? Yup, Brannon Braga wrote it.
** During ''Series/StarTrekVoyager'', if what you just saw involved Janeway being a) awesome and/or b) {{Ship Tease}}d with Chakotay, usually both, it's more than likely Jeri Taylor's work. Brannon Braga, by contrast, actually ''lost'' his style as ''Trek'' progressed, since he began writing more and more of the series, culminating in ''Series/StarTrekEnterprise'', where he and Rick Berman penned 37 of the 97 episodes; this meant that his normal MindScrew could not be achieved week-to-week, and the two of them ended up with a ''shared'' Signature Style, which, alas, tended to focus on the crew of the NX-01 ''Enterprise'' bumbling around in space without any real idea what they were doing.
* Terry Nation (''Series/DoctorWho'', ''Series/BlakesSeven'', ''The Survivors'') liked doomed ([[WeAreStrugglingTogether and argumentative]]) groups of [[LaResistance rebels]] fighting ScaryDogmaticAliens like the Nazi-esque Daleks (which he invented) or in the case of ''B7'', Scary Dogmatic Humans. He also liked ragtag (and argumentative) groups of survivors in AfterTheEnd settings, and in "The Dalek Invasion of Earth", he even got to combine the two fascinations. He also had a great fondness for characters with the last name Tarrant and, often, characters with no first names ever given. A strong streak of cynicism runs through his work, making his favourite characters {{Deadpan Snarker}}s.
** Look out also for his tendency to make up for his total aversion to TechnoBabble by adding the word 'space' to existing nouns. Someone will be a doctor of 'space medicine'; an alien race's headquarters is referred to as being 'in Space' by space-travellers, and so on.
* When Clark Johnson directs an episode in any given series, expect lots of handheld shots and shots of tangential, sometimes random but interesting events happening at the periphery of the scene. Called "Shoot the Dog" shots by the crew of the TheShield, after he excitedly insisted on filming nearby barking dog in one of the early episodes, different from the more familiar ShootTheDog.
* Creator/AaronSorkin, father of the WalkAndTalk and SorkinRelationshipMoment: machine gun fast dialogue. Comedic repetition. Tall, smart, sexy, sassy women who give as good as they get. Characters who veer oh-so-close to cynicism, only to come back to hope and idealism. Extremely liberal world view. He actually included common criticisms of his writing style in his short play ''Hidden in this Picture''. In it, a film director tells his Sorkin-proxy screenwriter, "I think your work has a tendency to be long-winded and cynical, I think you have trouble handling exposition, you take ''forever'' to introduce the inciting action, and all your female characters talk and act as if they've just stepped off the Love Boat."
** He also really, really likes to use the name Danny.
** And the same character types. Watch ''The American President'' and ''TheWestWing'' and then tell us A.J. [=MacInerney=] and Leo [=McGarry=] aren't the same character. Same with Lewis Rothschild and Josh Lyman, and that gets more fun when you add in ''Studio 60'' and ''A Few Good Men'', because Matt Albie and Dan Caffee are also the same character as Lewis and Josh.
** He ''loves'' [[TalkAboutThatThing Talking About That Thing]], to the point of NeverGiveTheCaptainAStraightAnswer. It will often be five to seven minutes into the conversation before the audience learns what The Thing is.
** He also likes to refer to offscreen characters multiple times by their full names before introducing them or explaining their purpose in the story.
*** And main characters often imply full sentences in arguments just by using the other character's first name.
** Is the season finale named "What Kind of a Day Has It Been"? You're watching the first season of an Aaron Sorkin show.
** His love of dramatic speeches. Is there a self-righteous villain in the piece? Then there will be a scene in which he delivers something not far short of a sermon, usually in response to hard questioning (in a legal setting), in which he concludes with a highly-quotable, exceptionally angry declaration which leaves everyone speechless.
*** See Malice, AFewGoodMen, and TheSocialNetwork.
** Father issues. Nearly ''everybody'' on ''The West Wing'' has something rotten in their relationship with their father: Bartlet's father was a WellDoneSonGuy who never actually said "well done son" and was physically abusive; Leo's father was [[AlcoholicParent an alcoholic]] who killed himself; Josh's father [[MoodWhiplash died suddenly the night they won the Illinois primary]], contributing to his GuiltComplex; Toby has to forgive his father for ''being in the Jewish mafia''; C.J.'s father is dying of Alzheimer's; Sam's father is revealed to have had an affair during his marriage that's lasted almost all of Sam's life. Charlie's father is the least talked about, and that's only because he was a DisappearedDad; to make up for it, his mother was a police officer who was murdered, resulting in Charlie being PromotedToParent at the age of twenty-one. In other works, we have, for instance, Danny in ''A Few Good Men'' trying to come to terms with his need to live up to his father's awesome reputation as a lawyer.
*** Sam's father's affair is an almost word-for-word retread of Jeremy's in ''SportsNight''.
** Sorkin uses the dialog construction "not for nothing, but ..." a great deal.
* Creator/BryanFuller frequently gives his female leads [[TomboyishName boy's names]], and his shows are very visually distinct, featuring sets, costuming and cinematography that make any shots from his work unmistakable in their origin. He frequently writes characters who are highly educated - perhaps overeducated - for their jobs, and disaffected by this fact. His characters often question their own mental stability, and to the audience the 'reality' of their perceptions will remain ambiguous. He likes to reuse actors and - perhaps the strongest sign a show is his - his premises involve weird, mildly disturbing relationships with food and/or death that are mined for macabre humor and heavy philosophical questions. For instance, resurrection with a price often features, as evidenced by his work on ''Series/DeadLikeMe'', ''Series/PushingDaisies'', and the ''Series/StarTrekVoyager'' episode "Mortal Coil". No one guessed he might create a TV series adaptation of ''Literature/RedDragon'' until ''Series/{{Hannibal}}'' - and yet once he did, the idea had a certain oddball perfection.
* ShotaroIshinomori really loved the PhlebotinumRebel, with [[{{Cyborg009}} his]] [[{{Kikaider}} more]] [[KamenRider prominent]] [[SkullMan works]] featuring heroes as such.
** Also, always expect the final villain to deliver a AsLongAsThereIsEvil speech before death.
* Kevin Williamson is quite fond of showing the lives of [[ContemplateOurNavels highly introspective]] [[TeenDrama teenagers]] living in a [[CloseKnitCommunity small suburban town.]] (''Series/DawsonsCreek'') Then he puts those teenagers in mortal peril. (''Film/{{Scream 1996}}'', ''TheVampireDiaries'', ''TheSecretCircle'')
* Even in {{Game Show}}s, this crops up often:
** Creator/ChuckBarris: Incredibly campy, simplistic shows that are clearly not even close to taking themselves seriously and have very little in the way of "game" (e.g. ''Series/TheNewlywedGame'', ''Series/TheDatingGame'', ''Series/TheGongShow'', ''[[TreasureHuntUS Treasure Hunt]]''). Often with brassy, extremely 70s music written by Barris himself. Always announced by Johnny Jacobs until he died.
** MarkGoodson-Bill Todman: Early on, panel games (''Series/IveGotASecret'', ''Series/ToTellTheTruth'', ''Series/WhatsMyLine'', etc.). Later on, more varied, with everything from ''Series/MatchGame'' to ''Series/FamilyFeud'' to ''Series/ThePriceIsRight'' to several revivals of the Bob Stewart-created ''Series/{{Password}}''. Most of these followed very simple formats that still exuded great deals of variety in their content. Almost always announced by Johnny Olson (until his 1985 death) or Gene Wood.
** Creator/JackBarry-Dan Enright: Generally solid quiz formats (unless they're trying to copy something else for instance, ''Hollywood Connection'' was a blatant ''Series/MatchGame'' expy), extremely easy questions (likely over-compensation for the quiz show scandals of which they were a part in the 1950s), and a luck-based BonusRound that involves some variant of "Find X amount of [good thing] before you find [[[{{Whammy}} bad thing]]]".
** MerrillHeatter-Bob Quigley: Variations on popular games (for instance, ''Series/TheHollywoodSquares'' is based on tic-tac-toe; ''Series/{{Gambit}}'' was blackjack; and ''Series/HighRollers'' was Shut the Box). Always with brassy Stan Worth theme tunes and Kenny Williams as announcer.
*** After Quigley left, Heatter rehashed ''Squares'' twice: first in ''Series/AllStarBlitz'' (''Squares'' meets ''Series/WheelOfFortune''), then in ''Series/{{Battlestars}}'' (''Squares'' [[foldercontrol]]

[[folder: [[Recycled In Space IN SPACE! ]]
]]). Also, Kenny Williams was no longer alive, so these had different announcers.
** Creator/BobStewart: Word association games that are obviously trying to copy his huge hit, ''Series/{{Pyramid}}''. Often with super-cheap-looking but elaborate sets, and peppy themes by Bob Cobert. Creator/BillCullen is usually involved.
** Creator/JayWolpert: [[LoadsAndLoadsOfRules Ridiculously complex]] shows that often border on being the game show equivalent of {{Calvinball}}. Not surprisingly, few of his shows lasted very long.
** Reg Grundy: Proprietor of Australian adaptations of American game shows, always extremely faithful to what they copied.
* Does the show you are watching take place in the past, focus primarily on women and their relationships with each other, handle what should be impossibly melodramatic storylines in a way that makes them, instead, utterly believable and heartbreaking, contain at least one romantic storyline which is restrained in expression yet incredibly profound, show the goodness of humanity in the midst of tragedy, and require everyone to [[EarnYourHappyEnding Earn Their Happy Ending]]? Congratulations, you're watching something written by Heidi Thomas. See, for instance, ''Lilies'', ''BalletShoes'', ''Series/{{Cranford}}'', the ''UpstairsDownstairs'' revival, and ''Series/CallTheMidwife''.
* It would be easier to list the SitCom tropes Chuck Lorre ''doesn't'' employ regularly, since he was involved in many a TropeCodifier in the 90's and 00's. His biggest calling card as of TheNewTens may be his heavy use of a LaughTrack in shows like ''Series/TheBigBangTheory'' and ''Series/TwoAndAHalfMen'' long after it has fallen out of favor with every other creator on television.
* ToshikiInoue, a prominent Tokusatsu writer known for his work on ''KamenRider'', is really known for his use of the ConflictBall and PoorCommunicationKills. Sometimes, the plot of the show could be solved if the characters would just sit down and talk to each other for just a few minutes, but due to often contrived circumstances, they just keep fighting one and another. Also, if there is a romance in the show, you can count on it that the female involved in the romance will die to give the male character motivation to fight the villains.
* YasukoKobayashi, known for writing multiple Kamen Rider and Super Sentai series, has a very unique style of writing. She almost never plays tropes straight, depends on ShowDontTell and does not shy away from introducing new tropes to the Tokusatsu genre. TVtropes even has an analysis on her signature style, which can be found [[Analysis/YasukoKobayashi here]].