Plots in T13 are rarely solitary things. Even a single Story is broken into 3 structural Acts and numerous Scenes, that are each technically a Plot in their own right and can burst into side Stories.
When we build a new game-world we could start with a single Story, but it usually makes more sense to create an overview, and begin sketching in from the top down. The overview in this sense is the the beginnings of the Cycle.
The Cycle can be joined by Epics, Volumes, Arcs and Stories/Chapters, that describe the Cycle with finer and finer granularity, to create more detailed interwoven Narratives. Even if we just extend the first line down from the Hook of the Cycle, down to the Hook of the Chapter, that’s already 4 different (although probably related) Conflicts each with different Sides and Narratives all beginning to interact. Imagine how complex it could get when you have an Epic History, or an Epic Saga, that pre-dates the current Epic, adding their influences too.
So, when we create a new Plot, we should expect it to spawn at least one Subplot. Yarn-Tellers should prepare at least a little list of potential Subplots that may be spawned, it doesn't have to be a complete or even extensive list, just try to note down the most obvious potential Subplots that you see in the larger Plots. For example, if the current Plot has two Sides who are at open war, then the obvious Subplots can be summoned up as “Romeo & Juliet” (where a Character from each Side become romantically entangled creating a new Conflict within the larger Conflict), “Enemy Mine” (where a Character from each side are trapped together and must learn to live with each other, save each others lives from external threats and become friends), “”.
Subplots can also be spawned in, created during play. Yarn-Tellers are always throwing in a new Subplot here or there, and we’ll get to that. But there are other ways that Subplots can be spawned.
Obviously Plots interact, for example a Descendant, or Geo Plot, may interact simply with a Quest Plot to capture, hold, or retrieve, the Descendant (even if it is a Location, or even a Pact), as well as Character Plots for the owner (or a resident, or member), or those on the Quest.
Characters are usually working on their own Character Arc, surrounded by others working on theirs. These Plots will also interact and spawn Subplots. Even when the Characters aren’t Yarn-Tellers themselves.
When Plots interact in these ways, new Conflicts are often spawned, as the Embodiments are placed in Tense and Dramatic situations. No Character (unless they are the Yarn-Teller of that Story) should be able to identify their own Embodiment in any particular Plot. They may make Alliances or Enemies of Embodiments that are nothing to do with their current situation, creating new Conflicts that can spawn even new Cycles occasionally.
Conflict Plots are spawned by the interactions between Characters, even when they are not technically Embodiments of the current Plot. If two Characters come into Tension with each other (if they are both in a Scene with a Suspense of 5 or higher) but they are not Embodiments of the Plot that has created the Scene, then a new Conflict can be generated between them, such as between their Persona Facets. Cards can be played by all present Yarn-Tellers, to create a new Conflict (usually only Dominant and Pressed sides are established by cards, the other sides follow from narrative logic, normally).
Destiny plots are easily spawned by Characters making predictions about what may happen next. During this prediction some Conflict must also be mentioned, or at least intended, “You let him go? Great, he’ll probably be the Big Bad next season!” – implies that the Character that they let go will be one side’s (probably the Dominant, Above or External) embodiment, and the party will be Pressed. Where as “You let him go? Great he’ll be sneaking back with his mates to kill us in the night.” implies he will be part of the Shadows of a future adventure.
If you create a Subplot then it should be your responsibility. If you are a Yarn-Teller, then make the notes you need and build a future adventure about it. If you aren’t a Yarn-Teller, then tell the Referee and they should make a note of it and use it if another Yarn-Teller doesn’t. Don’t worry though, T13 does have a mechanic for reminding the Referee and other Yarn-Tellers about other Plots, but we’ll get to that in a bit.
Subplots as Acts
Often the easiest way to break down a huge Plot is to think of it like a single Story. In T13 we think of Stories as having a generic 3 (or more) Act Plot.
- The First Act (usually about a sixth to quarter of the Plot’s Scenes) is called the Frame. This is what defines and exposes the premise and Conflict of the Story. It establishes the world, reveals the situation, and often the villain, or the first face the villains Side uses. At this point in the Story the Conflict is often only a low Suspense, a pull, or a push between the sides.
- The second Act, the Loom, works the Conflict. This is where we see the Oppression, see the Pressed side struggle beneath the Dominant’s yoke, watched by the Above, crushing down on the Below. This is when the Internal rebellion shows itself, when the External forces make themselves known, and the Shadows stir. Suspense rises, and can draw Characters into situations that they are not prepared for. This is the moment when in an Action movie the hero is fighting his way through the underlings, trying to get a lead on the villain, or the detective is interviewing suspects and hunting out clues. This might be when the true enemy is discovered to exist, often after the first has been dealt with. This is usually the majority of any Story (at least half and often two-thirds), and the Stakes and Suspense are constantly raising and then falling slightly less throughout the Loom.
- Finally, we reach the Zenith. If the tension and pressures in the story still hasn’t broken into true Conflict, it’s now, or never. With arguments, accusations, or even assassinations taking place. This is the time of final last-ditch battles, or the grand reveal, who-dunnit? What does the monster look like? Who is the enemy? The twist in the tale may come now, that diverts the next Story, or the larger Plot, as the Shadow sides suddenly make their move. The Stakes are at their highest during the Zenith, Extreme and Soul Stakes levels are common in all forms of literature, and Paradoxical Stakes are common enough in Science-Fiction, Fantasy and Horror tales. The Zenith is where the Conflict reaches a conclusion of some sort. Although, the nature of that conclusion varies depending upon factors like the actions the Characters take and how successful they are.
This means that for a Cycle Plot there could be three Epics, Frame, Loom and Zenith, for the Cycle.
You can always assign a Plot one of the following Act Types:
| Type | Description | Rules | Spread |
|---|---|---|---|
| Scene | This Plot is too small to be an Act. It may be a fragment or just be tagged as part of a Plot. | Use a Scene Spread. | Scene |
| Frame | The Frame hooks the Characters, sets up the Story, and reveals something about the Conflict. | Each Embodiment gets Hooked. These Hooks can take place simultaneously or sequentially (or somewhere in between). There should be at least one Revelation Scene, although more Revelations will be scattered throughout the Frame. | Frame |
| Loom | The Loom works the Conflict through Tensions, Pressures, Tests and Ordeals between Embodiments. As the Loom goes on things things will generally get worse for some of the sides and better for the others. Looms are broken into a number of Warp Scenes which make things worse for someone, and Weft Scenes where they might get a break or some relief. | The Loom presents Warps and Wefts to all sides of the Conflict, with each Embodiment of the Conflict taking either a Warp or a Weft Scene. If the enemy takes a Weft, this Embodiment should take a Warp, and less importantly whatever the Embodiment’s Ally takes, the Embodiment should take the same. Each Scene during the Loom is then a blend of simultaneous Warps and Wefts, filled with interacting Frays, Snags and Sweeping Sub-Scenes. | Loom |
| Zenith | The Zenith completes the Story. It describes the Resolution of the tale, how this story ends. In a comedy the mistake is revealed, and everything that went wrong is undone. In a tragedy the hero suffers their painful downfall. In a detective story the villain is revealed and arrested or killed. In a romance the Characters finally marry, or at least kiss. In a war the final battle takes place deciding the victors. | The Zenith is mostly about the Finale, which is usually like a Warp for all our Characters, with the Suspense and Stakes at the highest they will be in the Story. | Zenith |
| Logue | A Logue is an Act (usually no more than one or two Scenes) detached from a Story, it may be a Prologue (set before the Story), an Epilogue (to conclude the Story), an Interlogue (where we see things from another Character’s point of view (often the Villain), or in T13 an Exologue where we suddenly step out to a different Alternate’s universe. It usually involves direct Narration, but may not. | Logues are often a combination of a Gain or Revelation and an Ordeal for the Characters that are involved in the Logue, but they also act as a Revelation for the reader or gaming group, or for Characters that are told the Logue later. | Logue |
| Story | This Plot is a whole Story, it does not fit into a larger story, but is self contained. | Use a Conflict Spread to create a Story instead of a Act. | Simple |
| Type | Description | Rules | Spread |
So as a Referee, do you just start with the Players in the Frame Epic and build that?
Well, usually the Frame Epic is often the ancient history of the world. And a truly well built Cycle may actually have a History (the facts of history) and a Saga (a folklore believed to be the History, which differs in details). The Characters of the Frame Epics are the old gods, demigods, kings and heroes of lore. The important history of the world, laid out in the History (and Saga) sets up the later Plots that you want to play through (as well as potentially defining heaps of Lores that may be used later).
You might detail the History, and/or Saga — You may even play through it (or at least visit moments through time-travel, flash-backs, past-lives, or historical Revelations), but it is rarely necessary to know every detail of the Frame Epics.
The Loom Epic is usually where the main body of our tales play out. If the Frame Epic is the Ancient History of the world, the Loom is Modern History leading to the Present day, when the big Stories happen. The Loom Epic lays out the thrust of the major conflict and how it affects the Story World. Usually the Loom begins some time in recent History, although just occasionally a Loom begins at the first Hook.
Early on, the PCs have no chance or hope to influence these events. They are the concerns of Emperors, Popes and gods, not a farmer’s son who wants to learn how to swing a (laser) sword, and shoot a (plasma) bow by an old knight. Later, however, when the farmer’s son has joined an army, risen to the rank of General and won the ear of a Pope, or an Emperor, then they may influence the Epic Loom plot.
Finally, the Zenith Epic is the approaching Future that you are working to bring about, or stave off as much as possible. Perhaps the Zenith represents a Prophecy, the predicted end of days, Armageddon, or Ragnarok. Of course, the future could be unwritten, in which case you won’t need to detail it. You may want know what the Zenith Epic is (or in some cases you may want to play through the Zenith Epic — perhaps as some sort of Armageddon, or Apocalypse storyline), but generally you won’t need to know too many details about the end of the Cycle, as it lies beyond the Scope of the Story-telling. The Cycles of Classical Mythologies, for example, simply seem to fade away. We do not know what happened to the Greek, Phoenician, Gaulish, Celtic, or Roman Gods, did they leave, die, or are they still living somewhere here? Their stories just stopped.
Subplots as Tracts
Acts have Scenes, they are made up of these smaller chunks, just as Stories are made of Acts. When we are breaking up Cycles into Epics, Volumes become like Scenes of the Cycle Plot, but we call them Tracts normally, to indicate that these are more complicated than a simple Scene.
Tracts do not usually focus on a single “Scene” of the Cycle for a whole Volume, but instead we share several “Scenes” across a Volume. You could focus a Volume on a single Scene if you wanted, TV shows sometimes do this, focusing on a Single Scene Tract and Story for a whole season, but more normally you will group a few together, and tell more than one Story at once.
Tracts follow the format of Scenes, in that they are broken into clear types that we can categorise. Early in the Frame Epic we could have several Hook Volumes and perhaps least one Revelation Volume, but it is be more common to condense them into a single Frame Volume (Assembling Super Hero teams aside) that sets up the rest of the series. During the Loom Epic we can have Warp and Weft Volumes. Since the Warp is made from 3 Parts (Ends, Fray, Snag) this is similar to the Acts of a Story as well, breaking those Volumes into smaller Arcs.
Alternatively, you might find that each Volume is better as a mix of several Warps and Wefts. With the individual Scenes slipping into or encompassing several within a Chapter of the Volume. It all depends on how deeply you want to weave your Stories, as it is a lot easier to write a Chapter around a Single Tract “Scene” than to incorporate several higher-level “Scenes” into a single coherent Chapter.
While a Volume is a Scene (Tract) of a Cycle it is still potentially an Act of an Epic, and you can combine Tracts and Acts together as required (just because you have 3 Acts at each level doesn’t mean you have to have 9 Tracts below that level). Any number of Tracts can form an Act, just as any number of Scenes can form an Act in a Story.
| Type | Description | Rule | Spread | Narrative Meaning |
|---|---|---|---|---|
| Not a Scene | This Plot is not a Scene Demon for a Larger Story. | This Plot is either too big to be a Scene, or is a Story in its own right. | This is its own full Story or some larger Narrative such as an Arc, Volume, Epic or Cycle. | |
| Hook | Hooks hook a character into a Conflict making them into a Conflict Embodiment. A Hook offers a Character (or Group) a reason to get involved in the Story. This lets the Plot use the Conflict Facet of the Character to help build their Conflict Annex. | Hooks require 2 additional cards. A card for the Hook, and one for the Hook Aspect, a combination of both creates the Hook Scene. | Hook | The Character begins with some agenda or preconception. The Plot complicates this agenda, via a Hook and Hook Aspect, often indicating that another already Hooked Embodiment will oppose the Character. This creates a question for the Character, will they accept the Hook or reject it? |
| Test | Some Scenes are nothing but a single Test, often with a lot of discussion around them. Tests are usually a single dice roll, like a Facet Test, and usually a Test of one of the Conflict Facets. | A single Test is one of the simplest of Scenes. A Ref should have some idea what the Difficulty is, what will occur on a pass, or a fail, and what a Stalemate or Borderline would look like. It is also useful to know what Failure Levels or Success Levels will do in the Test Scene. Occasionally Tests may be a single roll against an Opponent (such as the Villain). You can find example Tests in the Ordeal details for a card, so usually 1 card will be added for this Test. | Test | A Character encounters an Embodiment in the form of a Test. Which opposes the Character somehow, over something. The Character must choose how hard to commit themselves to the Test, and should be aware of the likely results (although not all the painful details). Passing or failing the Test is usually only important because of the repercussions for the Characters. |
| Ordeal | Ordeals test Characters in a complex way (more than a single dice roll Facet Test). Ordeals can range from Low Stakes Ordeals (like doing the Crossword), to mixed Stakes Ordeals, such as solving a crossword puzzle, while exchanging gunfire with enemies, during a car chase. Action generally, and Fights in particular, involve an Ordeal. Ordeals are usually created by playing a number of cards to define everything about the Ordeal (from the Type, Stakes, Number of Obstacles you should draw and add, to a suggested action that could be taken, or a description of a Stage). | The most complex of spreads. Additional Yarn cards may define the Ordeal Type, Stakes, number of Obstacles per Stage, number of Stages of the Ordeal and the type of ordeal (Railroad. Forking, etc). Stages and Obstacles are also defined by cards (see Ordeals on each card). | Ordeal | Ordeals are complex narrative structures in their own right, that can handle complex narrative events in a variety of different ways, but at its core an Ordeal is a struggle between two or more Conflict sides. These sides will complicate each others stories, creating a crisis or choice of some sort quite often, and allow the two sides to even exchange blows and directly react to each other. |
| Gain | Gains give something to one of the Characters to help move the Story on. Sometimes this might be payment for a job they did, or it might be a discovery that will directly connect to the Story. This may be information, knowledge in the forms of Skills and Descendants that can forward the Conflict. | Every Yarn card has an example Gain that you can use to reward the Characters for their actions, in general the size of the Gain should be based on the Plot (and not randomly assigned). It is normal to add 1 card to define the card. | Gain | Some prize or payment is offered to the Character. There may be complications associated with accepting the offer, for example, debts may be owed, or lines may be crossed, sometimes accepting a gain can be a trap for a Character Embodiment, damning them to a recurring Plot. Characters should choose whether they accept or reject the “prize” offered. In some cases rejecting this “prize” will force the Plot to offer a better one, in others the best prize is already on offer and rejecting may result in no gains at all, or perhaps a lesser “booby-prize” may be offered. |
| Revelation | Revelations reveal information to the Characters. Typically a Revelation reveals something about the Plot, the Villain, the Prize they are after, or themselves. Revelation Scenes usually include multiple actual Revelations. Revelations can also create Lores that are granted to characters by the Plot. For example, if it is revealed that the Villain attended a Wizard’s school, then this will add a Lore allowing the Villain to perform Wizardry. | Revelations usually consist of 2-5 cards that define: What the information is about, what the actual info is that is revealed, the vector the Revelation is revealed by (media can include newspapers, forensics, etc), and perhaps some Alternative Information that might be revealed (in case you can’t use the Info), and additional details that are involved somehow. Revelations can create Lore Descendants as they reveal information that was not known about a Character. Usually a Revelation Scene will use these same cards in different permutations to reveal several items of information at the same time. | Revelation | Revelations can be arguments, as two Characters reveal things about each other or a third party. Revelations are sometimes used to ladle out lores to make Bad Guys more powerful, so remember that revelations can be misdirections, and can certainly be misunderstood, however each revelation should change how one Character feels about themselves, another (usually the Bad Guy, Rival, or Love Interest), the situation, or their goals. A good revelation has an emotional impact, as well as a choice… how much you believe the revelation? |
| Warp | Warps work the Conflict. They are broken into 3 parts or Sub-Scenes:
| Define The Fray and The Snag with at least 2 Yarn Cards. Draw additional cards to your Hand and Play as required for additional details. e.g. if the Fray is an Ordeal, draw cards to define the Ordeal for free. Suspense usually increases 1-3 Levels during a Warp Scene. | Warp | The Ends describe what all the Characters want to achieve, the Fray and Snag complicate those goals, creating obstacles, crises, choices and additional Character Stress throughout. |
| Weft | Wefts also work the Conflict through 3 Parts:
| Play an additional card to define the Sweeping. The Yarn-Teller should prepare at least 2 Warps following the Weft to be picked between. Suspense is usually reduced 1-3 Levels during a Weft Scene. Character Stress is usually relieved during a Weft Scene. | Weft | Wefts open to the emotional impact of a previous scene, Characters respond to what came before. Then they more beyond that, recovering some and perhaps even making progress. This is before some choice is offered to the Character, this can be as simple as asking “What&aposs next?”, but ideally should reflect the ongoing situation more directly. |
| Finale | The Finale is a final culmination of the Story so far. This is where the Conflict comes to a head, and you can think of it as being like a Warp for every side simultaneously. It is often defined as a Fray and Snag or an Ordeal (and very often includes a Fight even to the point of a battle), but it can be defined as a Test, Revelation or occasionally as a Gain as well. Suspense and Stakes will be higher than they have been during the Loom (at least Intense Suspense Level and High / Extreme / Soul / Paradoxical Stakes). | The Finale should extend logically from the Story so far. Although there may be a twist in the ending sometimes, it is unlikely that the aliens in town that have been killing people, will go without a fight. A Finale is usually defined as a Revelation, Gain, Ordeal or Test and may draw additional cards as that type. Suspense during the Finale is usually at least one level higher than it has been through out the narrative so far. | Finale | Finales are the Climax of the Story, but their structure is surprisingly fluid, as it must suit the nature of the story so far. Some cliches can include the final battle, or the detective revealing who the murderer is, but the ideal finale brings together the sides of the Conflict and the winner is decided amongst them. |
| Completion | How the Story completes and Resolves depends on how and what the Characters do. The Plot may be destroyed by their actions, or be demoted or promoted, to return again later, if some aspect has not been entirely dealt with. Sometimes the Plot will just recycle, changing Embodiments and starting again. | Character actions and interactions decide what sorts of Plot resolutions are appropriate to the narrative. Referees have final adjudication over Yarn-Tellers here, especially when the Yarn-Teller is involved directly in the Completion. Completion usually results in a complete loss of Suspense for that Plot, and Characters may become Exhausted immediately following it (it is usual to add a Logue after the Zenith if the lead character passes out during the Zenith). | Completing Plots and Resolutions depend heavily upon the narrative that has proceeded this event. Yarn-Teller Characters will have important choices to make during Completion, but only if they are narrating, completion events can often include epilogue and similar scenes that ease the audience away from the Story. | |
| Type | Description | Rule | Spread | Narrative Meaning |
Subplots as Components, Stages, Tests or Quests
When you look below the level of Scenes of a Story you start to break things into Scene Components, Ordeal Stages, Tests or Quests as components of larger Plots.
Warp and Weft Scenes can, for example, be further broken down into Scene Components, which can appear as similar to Acts within a Story.
| Type | Scene | Description | Rules |
|---|---|---|---|
| The Ends | Warp | The Ends are when the Characters establish what they want, usually described as Quests or as Questions that must be answered. Maybe the PCs have to defeat an Army attacking their home town, or perhaps they have to find out who the invaders are. | The Ends for each Character are decided by the Player of that Character, the Yarn-Teller and / or Referee. The Ends are most important to the Referee, as it helps define Success and Failure for judging the Completion of the narrative. |
| The Fray | Warp | The Fray is what keeps the Characters from their Ends, all the things that complicate that Quest. The PCs have a huge, glorious, and bloody battle with the invading army. | The Fray is defined by the Yarn-Teller with Yarn Cards, usually a single card defines the Fray for a single side, but many sides can have the same Fray, or each have individual Frays. |
| The Snag | Warp | The Snag is a complication that complicates The Fray somehow. The Snag’s complication can render any success in the Fray utterly moot. The PCs defeat the army, only to hear that it was merely the scout force for a larger invasion force led by a Prince from the next kingdom over. Snags can also occur as the result of Failure Levels during Tests, Ordeals, or due to High Suspense Levels, outside of Warp Scenes. | The Snag is usually defined per side by a Yarn-Teller with a single card. |
| Recoiling | Weft | Recoiling is when the Characters respond emotionally to the previous Warp. Faced with the news that they must battle again tomorrow, do they collapse to their knees in defeat, or celebrate the victory anyway? Recoiling should occur naturally following the Warp, as the Characters react. | Depending upon the Plot and situation the Recoiling can consist of a Psych Attack (usually 1-2 cards, major events may warrant 3 cards). The size of these attacks (and the emotion they convey) should be a compromise between the Plot / Yarn-Teller and the Character’s Player. Characters who are not affected (due to soak etc) can obviously choose their own reaction, rather than having to portray the Psych effects. |
| Sweeping | Weft | Sweeping is where the Characters recover from the events of the previous Warp, and make preparations for what comes next. Sweeping can sometimes mean Gains or Revelations for the Characters. As they tend their wounds, patch their armour back together, and sharpen their blades for the next day, the Characters discover one of the enemies uniforms undamaged. Sweepings can also occur outside of the Weft as a result of numerous Success Levels. | Sweeping is normally defined by the Yarn-Teller with a single card, sometimes it can be interesting to give each side, or even each Character their own unique Sweeping. |
| Picking | Weft | Picking is when the Characters choose how the Story will proceed and what will happen next. Now the PCs are faced with a choice, do they muster their forces and meet the army on the march, do they fortify their position and wait for the siege to come, or does one of them don the uniform and try to assassinate or kidnap the prince? | The Yarn-Teller should define the choices that the Picking consists of, however the Yarn-Teller does not define all the possible choices that the Characters can make. A PC can always choose a different path that the Yarn-Teller has not imagined. |
| Type | Scene | Description | Rules |
If Epics are like Acts of a Cycle, and Volumes are like Scenes of a Cycle, then an Arc can be seen as The Fray of a Cycle, with Chapters like the Ordeal Stages of a Cycle. These parts can be seen as a single step in the much greater plots that are going on.
Similarly, simple Tests (or more complex Quests) can also be considered smaller components of larger Narratives. What appears, from the perspective of a Cycle, as a simple Test (perhaps made by one Nation against another) will be a complex Narrative of its own, at the level of the Arc and the Characters involved in the “Test of Nations” Tract.
The Quest is the ultimate example of that, as Quests sit completely outside the Plots, as Facet components that can drive Plots themselves. On some level, a Quest is a simple task set for a Character or Pact, but on another level it can be an Epic in its own right.
Care and Feeding of your Subplot
Subplots just like Plots have requirements to work. Not only do they have to have Sides that create Characters and Descendants that all have to be detailed, but they need play time to work.
If a Yarn-Teller is in charge of a Subplot it is their responsibility. They are meant to deal with the Plots and Subplots they have created. The Referee should make a record of any Subplots like this, when they are assigned to a Yarn-Teller.
The Subplot should then proceed by having the Yarn-Teller play the appropriate Yarn cards to unlock each Scene of the Subplot. Perhaps the next Scene is a Revelation, then the Yarn-Teller would require a Yarn card with a Revelation Scene Beat Type (any 5 or a Queen). If they play the card that triggers the Scene, they must then narrate it.
Each session that the Yarn-Teller narrates, that does not touch on the Subplot, the Referee should remove a point of Yarn from the Subplot (although don’t change the original Yarn cost). If the Subplot is mentioned in the Narration and moved on somehow (even if only a Stage of an Ordeal, or meeting an Obstacle) then the Ref doesn’t remove a point of Yarn.
If the Subplot becomes empty of Yarn, which may happen after many sessions without being mentioned, then it will go rogue. The Referee, or another Yarn-Teller, may take over that Plot and use it as they wish (hopefully not as a stick to beat the Yarn-Teller for forgetting about it), although they cannot change the Conflict, they can alter the Embodiments if required, for free.
Rogue Subplot Procedure
- The Ref should poll the Players as to whether the Rogue Subplot should be dropped, if they all agree then the Subplot is retired (although a Yarn-Teller may recycle it later).
- If the Players decide the Subplot should stand, then a bidding war begins, with each Yarn-Teller bidding Yarn to take over the Subplot.
- The Subplot is immediately refilled with Yarn and becomes the responsibility of the winning Yarn-Teller. They may now use that Subplot, and are responsible for its feeding.
- If no one bids on the Subplot, then it becomes the Referee’s responsibility. They should incorporate the Subplot into their Narrative as normal.
- Referees may decide treat the Rogue Subplot as a Rejection Completion event, promote the Plot, add a Subplot that addresses the Rejection, and start a new Story that Hooks the original Yarn-Teller.