Flowers in the Garden of Bones
Want to avoid picking up Stress, let alone the possibility of Stressing Out? Well then, you’re in luck—all you have to do is Give In. When you Give In, you’re letting your opposition have her way. Your character either gives up or refuses to fight. This is the only way that a Contest can be stopped before it gets ugly; if nobody Gives In, somebody will get Stress.
If you Give In without ever picking up dice to react, Giving In is free. Another character made a demand of you and you complied; what could be simpler?
However, if you roll dice to react even once, your character is invested and committed to the fight. From then on, it costs you a Plot Point to Give In. Give the Plot Point to your opposition. You can give her a Plot Point from your pool of points, acknowledging that your character is abandoning his position. Alternately, you may harvest a Plot Point by stepping back one of your Values or Relationships—sacrificing your friendships or letting the worm of doubt erode your principles. When you Give In, you must comply with your opposition’s most recent telegraphed action. If she was demanding information, you must describe your character spilling the beans. If she was throwing a punch, you must describe your character taking that hit. If she was throwing your character off a cliff, then you must describe your character going head over heels into the wild blue yonder. Don’t soft-pedal this—when you Give In, it’s your job to sell the opposition’s victory. It costs you nothing to make her look awesome, and the more awesome at the table, the more fun everybody will have.
Example: So Cam rolled an 8 and Mary rolled a 12. Instead of making a reaction roll, Cam might decide to just have Clark Give In. He doesn’t want to spend any of his Plot Points, though, so he steps back his Mystery Value by one. Watchtower furnishes him with a Plot Point, which he hands to Mary (the price of Giving In). He then must sell Tess’ victory: she lied to him, so in order to Give In, Charles has to buy the lie. He describes how Clark softens, frustrated, and admits that Tess can’t be to blame for everything that happens in her domain.