The house can be a place of hiding, as in Burying the Shadow, or a prison to escape from, like the house from which Resenance Jeopardy has flown, in Sign of the Sacred or Piristil, the brothel in Fallsend where Cal worked and Panthera was imprisoned in Fulfilments. It's interesting to notice that Calanthe seems to find even in that loathsome house something of the protective aspects of Forever.

There's also the Murkaster house in Stalking Tender Prey, the classical haunted house. Even Forever has an abandoned upper floor that the young Swift and Gahrazel went to explore.

But leaving home is another motif: Pellaz flies from his house to follow Cal, Flick leaves Seel's house in Saltrock, and leaving home is a sort of rebirth, or the beginning of it.

The Imperfect Child, Unlovely but Aching for Love
Ari in Hermetech, who can't love properly, born flawed due to a genetic experiment; Leeth in Calenture, unlovely, which Ays deems not fit for love, but who can't help but long for it; Lileem in Wraiths, imperfect, exposed in the desert, who, like Ari, can't love without endangering herself and others. Kamagrians are an extension of this concept. Opalexian says even that maybe Kamagrians are a failed experiment... like Ari? It's a very poignant issue, stating that even the unattractive have the right to love, and it's only natural that they want to be loved in return, unlikely as it may be. (By the way a very similar character is Marlene in Nemesis by Isaac Asimov.)

The Fallen Angel or The Disenchanted Savior
Many of Storm Constantine's characters are called to great tasks but seems very reluctant or disenchanted to perform them. In her Grigori trilogy, The Rebel Angel Shemyhaza is recalled from is prison in the Orion Nebula and he's disgusted both by the human race who deserted him and by the petty politicking of the Grigori. He doesn't want to be a savior anymore, and it's only through magical rites and supplications that he's convinced to perform his task. Even Calanthe is not convinced of his great destiny, and is sardonically reluctant to leave his self-destructivity behind. Only Panthera's hopeless love (here we go again) will give him courage and determination to finish his spiritual voyage through Jaddayoth.

Presumed Dead (Wrongly)
The reborn Pellaz, Zackala left for dead by Cal and reappearing as mariner, also in the Magravandias trilogy and in Hermetech we find a character they all think dead, and yet... In the last two cases, the character gets a new identity. He's often someone who's done wrong or has been wronged or both.

Mythological Beings and Knowledge
The Elohim in Burying the Shadow, the Grigori and even the Wraeththu who, according to Itzama in Wraiths have "returned," not come anew. Even in the Magravandias trilogy an angel from an ancient past delivers to Taropat, Shan and Tayven the "Crown of Silence." That knowledge can be of practical skills, like those Shemyaza gives to humans, or artistic skills like those of the Elohim, or of personal and spiritual growth, like that searched by Wraeththu. And the ultimate search for knowledge is that of Lileem's finding of the cosmic library in Wraiths.

The Pleasure Slave or Prostitute
It's interesting to notice how many characters of Storm's novels and stories find themselves, temporarily or permanently, in this role. The main examples are Calanthe and Panthera in Fulfilments, but also Zambia Crevecoeur in Hermetech (and Zambia's also been cruelly modified). The Vibrancers in Sign of the Sacred are also a sort of sacred slaves; Tayven Hirantel's a toyboy for the Magravandian royalty, before disappearing in the Country of Cos, where the legend of The Thorn Boy is remembered. I think this theme is meant as a pronunciation against the sexual (and not only sexual) exploitation of the individual, mainly that of men against women.

The Domineering Manipulative Woman
The Dominatrixes in The Monstrous Regiment are the models of other overpowering and meddling viragoes, some decidedly despicable, like poor Zambia's maitresse, other patronizing (should we say matronizing?) and absolutistic like Opalexian. Pharinet in the Magravandias trilogy is a young vixen who also cares very little of what happens to her loved(?) ones, when she's intent at pursuing her objectives. And let's not forget that hideous vulture-Grigori in Scenting Hallowed Blood. These are all examples of how a woman should not be, assuming some of the worst aspects of the male.

There are others recurring motifs but I think the combination of those that I mentioned is peculiar of Storm Constantine's novels.