Give Yourself Goosebumps is the Choose Your Own Adventure spin-off of R.L. Stine's popular Goosebumps series.For '90s kids, this series was the first (or, if one avoided the Animorphs Alternamorphs books, perhaps only) exposure they've had to the CYOA genre. Like other books in the genre, you, the reader, are required to make potentially dangerous choices to escape whatever dire circumstances you find yourself trapped in. Depending on the book, this may involve fleeing a haunted house, a deceptive genie or escaping a carnival of horrors (i.e., the book pictured to the right). And of course, the possibility of lots and lots of grisly deaths.Most GYG books follow a format which splits the adventure into two separate paths. The primary one covers the book's advertised premise more closely. The secondary one usually centers on the aforementioned premise as well, but may focus on a different aspect of the quest. For example, the first book, Escape from the Carnival of Horrors, has you either going through the carnival games, or the carnival rides to make your escape. Other books have two different storylines only tangibly connected to each other. Zapped in Space (#23), for example, has you choosing between the advertised virtual reality space adventure or another virtual reality game, which involves a trek through a snowy tundra to hunt down an Abominable Snow Woman. Few books, like Checkout Time at the Dead End Hotel (#27), go so far as to focus the entire book on one central quest.In terms of overall design, Give Yourself Goosebumps doesn't deviate much from its spiritual CYOA predecessors, other than including references to other Goosebumps books. Usually, this involves a quiz question of some sort, though Return to Terror Tower and Revenge of the Body Squeezers continue where the original books left off (i.e., Night at Terror Tower and series 2000's Invasion of the Body Squeezers).Because publishing company Scholastic forced R.L. Stine to write many volumes of Goosebumps in a short period of time — like the main series itself — it's likely that several ghost writers wrote some GYG installments. As a result, the novels really vary in quality. Demian's GamebookWeb Page, despite his obvious negative bias toward the series, does a decent job showcasing the erratic quality between each book. In contrast, a livejournal blog by MJN SEIFER gives more detail and compassion for the series. However, it's not quite complete yet (it's only on book #37), and has not been updated since October 31st, 2012. Nevertheless, most GYG books are worth reading at least once, though some books feel more tightly constructed and exhibit better gameplay than others.Give Yourself Goosebumps lasted long enough to even have several Special Edition books. These eight CYOA novels emphasize inventory management and more complex gameplay gimmicks not present in the other books. Into the Jaws of Doom is the most notable example. With its split sections and chance encounters requiring dice rolls, it's the closest thing the series has to an actual gamebook. The other Special Edition books aren't as boldly ambitious, but they have other ways to surprise readers.The other wiki also listed the entire catalogue of Give Yourself Goosebumps novels.
Give Yourself Goosebumps provides examples of the following tropes:
Adults Are Useless: The few times grownups are present, they don't do much besides punish you for acting panicked, lying about your unbelievable adventure, or sneaking off.
Amusement Park of Doom: Escape from the Carnival of Horrors and its sequel, Return to the Carnival of Horrors.
And I Must Scream: Most books have at least one ending describing you getting permanently frozen into an immobilized state or morphing into an inanimate object. This includes (but not limited to): being turned into a statue, being turned into an art museum painting, being turned into a computer chip for a virtual reality game, etc. For obvious reasons, these tend to be the creepiest endings for each book.
Animate Inanimate Object: Mobile statues, mannequins, and six-foot displays coming to life aren't an uncommon occurrence in several books. Toy Terror: Batteries Included takes this trope to the extreme.
Animated Tattoo: One storyline of Attack of the Beastly Babysitter sees you stuck with a guy who has these and can, of course, use them as weapons and possibly kill you. One of the good endings involves you defeating him by destroying the main tattoo in the middle of his chest.
Annoying Younger Sibling: Many of the books give you one of these. Denny in Tick Tock, You're Dead!", Joanie in Under the Magician's Spell, Jen in Escape From Horror House and "Stinko" in Attack of the Beastly Babysitter are just a few examples.
Baleful Polymorph: Deep in the Jungle of Doom, Trapped in Bat Wing Hall stand out, showing the changed forms on the cover.
Be Careful What You Wish For: On Scream of the Evil Genie, your wishes often don't work the way you hoped. Sometimes, it causes minor difficulties, but you're able to correct them without much difficulty. Often though, your less thoughtful wishes spark off some really bad things happening, including being stranded on a desert island, transporting a monster to your own house, or worst of all, being trapped in a painting.
Bittersweet Ending: Not all of the non-good endings turn out to be awful. For example, in The Deadly Experiments of Dr. Eek (book #4), you get turned into a dog, but at least you managed to return home safely and live as the new family pet! In Zapped In Space, you get trapped in your gaming partner's body, but both of you at least escaped the game intact. Both It's Only a Nightmare and All Day Nightmare have endings where not only is your adventure in the book revealed to be just a dream, but so is your entire human life, and you're really just an animal. It sounds like a bad ending at first, until you realize that you are happy with your "new" life (mostly because it's your REAL life). Please Don't Feed the Vampire has an ending in which you are stuck as a vampire forever but you learn to deal with it, get a job working night shifts, and eventually fall in love with another vampire and live a happy (eternal) life with them.
The Blank: In Welcome to the Wicked Wax Museum, one of the possible endings was that your face gets stolen, and the front of your head only has smooth, blank wax where it used to be.
Boarding School of Horrors: In Zombie School, you're sent to an elite boarding school that turns out to be one of these when you discover that all your fellow students are zombies. The book is organized accordingly: you pick from a list of classes that you have to survive, and certain choices earn you "demerits" that will lead you to a bad ending in detention.
Breaking the Fourth Wall: Invoked pretty often in the series, though usually when readers choose obviously foolish decisions (e.g., like eating blue eggs in Escape From Camp Run-For-Your-Life). See You Bastard
But Thou Must: Done a few time as the first choice of the book. The formula is one choice is to go adventuring and the other is to safely leave. The author tells you off for choosing the latter telling you you're reading the wrong book and turn back to the page to think again.
Cutting Off The Branches: Return to the Carnival of Horrors assumes one of the good endings from its prequel, despite there having been several — and it's actually a plot point, since one of the first things you do on one story path is try to find the same ride you escaped in the first time.
Darker and Edgier: A few of these. Into the Jaws of Doom and A Night in Payne House have only one good ending, and are very difficult to complete without running into most of the bad ones. Escape From Horror House took a more downbeat tone with less comedy and more graphic description of your many demises; while Zombie School is noted by fans for having gorier bad endings than most of the other books, such as you being torn limb from limb by zombies.
Earn Your Happy Ending: There are at least two or three of these present in every book. Only Into the Jaws of Doom and A Night in Payne House (special edition books #1 and 4) explicitly states that there's only one good ending.
Elevator Failure: A stock bad ending. Into the Jaws of Doom, Checkout Time at the Dead-End Hotel, Night of a Thousand Claws, and many others have them.
Enemy Mine: Sometimes an option. In one of the storylines of Escape From Camp Run-For-Your-Life, you're forced to team up with a girl you hate in order to survive (although many of the bad endings involve her leaving you to die to save her own skin.) In Escape From Horror House, one storyline involves you deciding whether to work with a medium or a ghostbuster in order to defeat poltergeists. The two hate each other and each accuses the other of being a fraud, but you have the option of making them work together just this once.
Into the Jaws of Doom does this trope very deviously for people who accidentally run into the giant magnet. To escape it, you need to discard almost every item you've acquired at that point. Only the boomerang gets a pass, but by that point of the game, you don't need it at all. This sets up an endless loop of bad endings, as the adventure's impossible to finish without the items you've left behind.
In Trapped in Bat Wing Hall, there's a side quest within the Blue Team storyline that has you wandering an underground cave to become a human again. What makes this example devious is that the lengthy side-quest ends badly, no matter what you do. The best ending? You get trapped in a library owned by monsters, who threaten to eat you, unless you read every book inside. Ouch. The worst ending? You get sent to a zoo when your friend catches you.
In The Curse of the Creeping Coffin, you can get chased by a ghost knight, which will lead you to fall off a bridge with a 50-50 chance to survive. If you die, you become a ghost who performs heinous acts like crossing out the page numbers of the very same book you're reading. If you survive, the ghost knight hears your groaning after landing from the fall, which he then proceeds to jump off the bridge to finish you off with his sword. The book then clarifies that you had a chance to survive the fall, not the adventure.
Similar to the Bat Wing Hall example, one of the two main storylines in Little Comic Shop of Horrors is to find that you are stuck in the world of comic books, and having to decide which of two comics you will enter. One of those gives you the option going into a third different comic, but all choices made from there end badly - you're either killed by a Mad Scientist (who thinks you are a spy) or a team of other kids turned into comic book superheroes, who are angry that you joked about them getting killed.
Tick Tock, You're Dead! has an entire storyline of this. Your main choice in the book is whether to go to the past or future to find your missing brother. If you go to the past, all paths lead to a bad ending. One of them does advise you to search in the future next time, just so the reader doesn't get too frustrated.
In Revenge of the Body Squeezers, if you end up on board the Body Squeezers' spaceship, you will get killed no matter what you do next.
Happens if you encounter Granny Kapusta in Under the Magician's Spell. She will either turn into a werewolf and eat you, or she gives you a glass of milk which magically immobilises you and you discover she's going to cook and eat you.
Fantastic Racism: A subtle example is used on Revenge of the Body Squeezers. A friend tries to convince you that the green aliens was in on the plan to use the squeeze bomb (proving this with, as it later turns out, fabricated evidence), while you try to convince her that you watched the blue aliens declare this plan in front of your own eyes when you snuck into their spaceship. Going with your gut turned out to be the better decision, as agreeing with your friend's "skin color doesn't matter" philosophy ended with both of you vandalizing Leonard Nimoy's cemented star with pick axes, and get you two thrown in jail, accomplishing nothing. As it turns out, this was part of your friend's plan, as she was a double agent for the blue aliens.
Gender-Blender Name: Drew Mortegarth in Checkout Time at the Dead End Hotel. It's a plot point that you don't know Drew's gender and thus, which of two potential Drews is the right one.
Gender Flip: In Return to Terror Tower you discover that Robin Hood is a woman.
Genre Savvy and No Fourth Wall: In Escape From Camp Run-For-Your-Life, one of the choices has you deciding whether or not to eat some blue eggs. If you choose to eat them, you will suddenly stop, remember that you are in a Goosebumps book (where eating weird-colored food is usually a bad idea), and spit the eggs out. It turns out that the eggs cause you to become an obedient slave of the aliens running the camp.
Gold Fever: Treasure hunting is a common sideplot for several books, though Alone in Snakebite Canyon and Lost in Stinkeye Swamp has it for a main storyline.
Guide Dang It: Into the Jaws of Doom may be too difficult for some readers to figure out, so R.L. Stine included a guide in the back of Checkout Time at the Dead End Hotel
Haunted House: A Night in Payne House and Escape from Horror House. The latter book has you trying to get rid of poltergeists that are making your house haunted.
I'm a Humanitarian: A few endings involve this. One ending of Under the Magician's Spell has a witch immobilise you and apparently take your knees to be used in her cooking. In Little Comic Book of Horrors you can be eaten by your friends who have become cannibals after being trapped in a maze for too long.
Immediate Sequel: Revenge of the Body Squeezers is one. It begins exactly where Invasion of the Body Squeezers, part 2 from the Goosebumps 2000 series left off; and a main plot point is the conflict between the blue aliens that appeared right at the end of that book, vs the green aliens from the first one.
Inventory Management Puzzle: For the books that use inventory, not having enough items, grabbing too many items, or using/acquiring the wrong items can lead to bad things.
Into The Jaws of Doom has the most complex inventory system. Not only can you discover numerous items, you can interact with them on multiple circumstances. You can even discard items if you feel like you won't need them anymore. This flexibility comes with a price, of course. Grabbing some items triggers an event, and if you don't have the proper item to counter said event (usually a monster appearance or death trap), you die. Some items aren't designed for multiple circumstances, and using them inappropriately will kill you. One item is completely useless, and if you choose it over a not-so-useless item, you're screwed. If you drop some items too early, you'll die when you'll need them later. If you haven't dropped enough items during one chase scene, the added weight will slow you down too much. No wonder the other novels couldn't replicate this.
Return to Terror Tower has you picking three items out of a possible four, and using them at a possibly appropriate time. Pick the wrong item to use during the events, and a humiliating death usually results. One item is useless, as the one time you could use the object, it doesn't help you at all.
After you choose to be a hunter or spell caster on The Curse Of The Cave Creatures, you have the choice to pick several potential weapons or casting spells. One of the items will always be the default tool, though you can choose three others to aid you. Pick the wrong items or choose the worst time to use them, and you're dead.
Trick or... Trapped! has you searching for items throughout your quest and using them for the appropriate time. Unfortunately, the inventory system is so poorly implemented into the book, it doesn't enhance the experience.
Shop Til You Drop... Dead!'s scavenger hunt has you going through floors two through six, and acquire as many items as possible before hitting floor seven, the final showdown. Skipping some floors or doing some actions wrong causes you to grab some weaker replacement items- or not acquiring some items at all, which affects the final confrontation. Also, going through the scavenger hunt in the wrong order may get you killed in other floors, since you need those items to survive
On floor seven, at one point the books asks you if you have one item or the other. It's possible to have none of them, but that option isn't included on that page.
You're Plant Food! and Zombie School have scavenger hunts that work similarly, though not quite as good as the one in Shop Till You Drop... Dead!
Involuntary Shapeshifting: Alone in Snakebite Canyon is practically based on this trope, with at least one named character ending up stuck in a random animal-form by most endings.
Jackass Genie: Jenna on Scream of the Evil Genie. There's only one wish that works out exactly how you expected — and even then, it took an extra wish to correct it — but the other ones turn out to be worse, whether by a little or a lot.
Kill It with Fire: Happens in a few books, usually if you encounter a dragon. In Return to Terror Tower you can be burned at the stake for sorcery.
Long Lost Relative: In one of the good endings of Return to Terror Tower, you help your two friends (a medieval prince and princess) overthrow their evil uncle and reclaim the throne. It is then discovered that you are their cousin and didn't know about it, so you get to rule the country with them.
Lost at Sea: During the secondary story in Ship of Ghouls, you escape a bombed cruise ship, and must survive out in the ocean for days on end.
Luck-Based Mission: Some books don't follow any real internal logic, which makes winning the book more trial-and-error than good planning/decision making. Some specific offenders:
One Night in Payne House. You choose three of twelve items, and if you choose even one wrong item or go one incorrect route, you'll hit a bad ending. It's next to impossible to beat this one without running into nearly every bad ending in the book.
Weekend at Poison Lake is this, literally. You pick between four short adventures based on Poison Lake, which comes with their own designated lucky number, and you decide how (or if) to use your lucky number during any perilous moment. Interesting concept, but the problem is that there was no logical way to deduct when to appropriately use your luck, as it could backfire at anytime. Yeah ... there's a reason this book wasn't well regarded.
In Attack of the Beastly Babysitter there is a spinner in the back of the book that initially decides which of the two main storylines you will follow: "Fun" or "Games." If you get Games, rather than letting you make choices, a lot of the paths are decided by actual games such as flipping a coin or rolling a dice, etc. You also have to use the spinner at other points in the storyline.
Most of the books will have at least one choice determined by something random the book asks you such as what day of the week it is, what month you were born, whether you have fair or dark hair, or are right or left-handed, etc. A notably odd example occurs in Zombie School where one choice (an important one, at that) depends on whether or not you can remember the last time you were injured in a gym class at school. Sucks to be an adult reader ...
Mad Scientist: In one of the books revolving around a cruise ship, you get tipped off to the plot by encountering a rather eccentric scientist with crazy hair and an even crazier expression announce his intent to "BLOW UP THIS SHIP!!" when you and your friend investigate what he's doing. Strangely enough, he's the good guy. The real bad guy is Affably Evil.
The Many Deaths of You: Every novel contains 20+ endings, so it's no surprise that several of them won't go so well.
Meat-O-Vision: A variant happens in Diary of a Mad Mummy where, if you try to distract a crocodile by throwing gummy candy at it, you then run out and the crocodile sees you as a gummy candy ... and eats you.
Mind over Matter: A possible outcome in Escape From Horror House is that there is no poltergeist - the mysterious events in your house are caused by you, or your sister, being telekinetic and not knowing about it.
Zapped in Space: You have to get across a planet's surface without being cooked by the intense alien sun's heat. You're in a greenhouse, with two options — slather yourself with random goo, hoping its sunscreen, or make a hat out of leaves. If you use leaves, the leaves have lenses in them you didn't notice, which cook you.
Same book, you're fending off alien lizards, and you can either use a sword, or a gun you have no clue how to operate. If you use the sword, the Lizards unveil their uncanny ability to regain all lost limbs, including their heads. FUUUUUUU—
Same book again. When you and your friend reach the Abominable Snowman's cave, there's a table with a box, containing a magnifying glass and a compass, saying "Take one". Logically speaking, since there are two of you, you and your partner can take both items without breaking the rule. Unfortunately, a beam of sunlight bounce off the compass through the magnifying glass, which flash defrosts the cavern and buries you and your friend into an avalanche of snow. What.
Into the Jaws of Doom: You're running from a man with no skin who's trying to kill you inside a museum. You need to kill him so you can use the stairs again and get to the third floor. You're in the gift shop along with a chemistry set, as well as a fire extinguisher you found previously. If you try to kill him by exposing him to the extinguishers intense cold, the recoil knocks you out and he strangles you. You make a smoke bomb, it incapacitates you and not him (even though he doesn't have any eyelids). You make a noise bomb, he's still not incapacitated but you are. You make a stink bomb, you both suffocate. And no, there is no option to just kick him the overly exposed balls. You're supposed to go into a maze, find the right direction without coming across the giant magnet that takes everything away from you permanently, find the lazer gun guarded by the snake, throw a stinkbomb at the creature that likely wouldn't be bothered by it, take the laser, find your way out, and shoot the skinless man in the eyes to blind him so he falls down the steps, preumably knocking himself out. It's probably worth noting, the smoke bomb and the flash grenade do absolutely nothing positive and stop you from making the stink bomb, making the game unwinnable.
Cheap endings aside (the germ and smoke bomb ones come to mind), Into the Jaws of Doom has more internal consistency than most other books in the series. As for the "Visible Man" stalking you, the book gives you specific instructions on how to beat him if you were paying attention. First, if you were lucky enough to get the hint about needing the fire extinguisher back in the fourth floor, you'll know to keep it for the fire ants when reaching the third floor (and even if you didn't, it's simple to figure out anyway). After snagging the key that was contained in the ant farm and you use it to open up the gift shop, your friend P.D.A. contacts you though a walkie-talkie and specifically tells you that only the Laser will work on the Visible Man, which is located in the giant mirror maze. The noise bomb is useless, but the intro in the book warned you that some items are worthless by design, so no loose logic here. The intro also said that most items are only good to use once, and using them multiple times may do more harm than good (only the fire extinguisher can be successfully used twice...the other times, it's worthless). Lastly, avoiding the giant magnet was easy, assuming you checked your notebook map on floor three and learn not to go north too often (though it's pretty tough to hit the giant magnet).
Diary of a Mad Mummy: You are in Egypt, being attacked by a crocodile. The book asks you if you are carrying some gummi candy to distract the crocodile. If you don't it kills you. If you do... he follow you around to get fed more, and you know one day you'll run out, and the croc will have to find something (or someone) else to eat...
The Knight in Screaming Armor: You're being chased up a bell tower by some ghost monks, who want to make you one of them. You reach the bell, and there is a kettle of black liquid, which probably won't even harm ghosts, and when you reach for the bell, the monks cower, which means they obviously fear the bell for some reason, so naturally you next choice is to ring the bell. No! What you're meant to do is pick up the kettle, which is too heavy for you, and then fall over and ring the bell by accident! Pulling the rope to ring the bell causes it to break, giving the monks time to catch up to you ...
Please Don't Feed The Vampire: You have been turned into a vampire and are faint from lack of blood. You are trapped in a room with other vampires who start drinking from the Dracula Expy. You can either try to escape while they're distracted, or drink some of the blood (not an unreasonable choice to make, since your character is now a vampire and needs blood.) But if you pick the latter, the next page abruptly breaks the fourth wall, assuming YOU in the real world want to drink someone's blood; and tells you to put the book down and stop being creepy.
Invaders From the Big Screen has one choice determined by whether or not you know the meaning of the word "pince-nez", but you continue with the story only if you don't know - if you do, you get a bad ending.
Morton's Fork: Not a common occurrence, but some books force you into a pair of unpleasant choices that both end in a similar disaster for you, the reader.
Alone In Snakebite Canyon at one point presents a pair of animal morphs that even the book admits sound less-than-ideal: a slow-as-molasses tarantula morph to cross a busy street, or a mosquito morph through a bat infested cave, right after you ate a mosquito when you were in bat morph minutes earlier. The choices end as well as you expect. The logical third option - i.e., turn into a tarantula and wait in the cave until the snake eyes reset into two other and presumably better animal choices - was completely absent.
The Werewolf of Twisted Tree Lodge presents an interesting scenario when you're trapped in the middle of the woods, facing a bunch of creatures that could easily eviscerate you for their own amusement. One option is to trick them into playing a game of tag and running like hell to escape, but they easily catch up and kill you. The alternative? Convince them that they'd all turn on each other if they try to eat you, because they're all different creatures, and require different needs when it comes to eating humans. By doing that, they'd either let you live to prevent turning on each other, or go all divide and conquer to see who gets to eat you. Instead, they claim that they're diplomatic monsters, and that their different needs doesn't interfere at all with feeding on you, so you still wind up dead.
Diary of a Mad Mummy, if you get trapped with the crocodile in Egypt. He either eats you right away, or you stall by giving the crocodile gummy snacks. Unfortunately, since there's no rescue on the horizon, you'll eventually get eaten anyway after the snacks run out.
In one book, you are given the choice of using either a cushion or a baseball bat to defend yourself from an enemy. Pick the cushion, it's easily destroyed and you get killed, with the book mocking you for even thinking a cushion would protect you. Pick the baseball bat, you're not strong enough to use it effectively (as you are an 11/12-year-old kid) - you still get killed.
In Escape From the Carnival of Horrors, you may encounter Slappy and Mr. Wood, the evil dummies from the Night of the Living Dummy books in the main Goosebumps series. You will then be asked if you remember the spell that was used to wake the dummies in the books. Whatever happens next ends badly for you: the right spell causes you to be enslaved to the dummies, while the wrong spell turns you into a chicken.
Welcome to the Wicked Wax Museum: You are in a limousine and decide to use its phone to call for help. You have a choice of three buttons to press. One of them does nothing, so you have to choose again and if you pick one of the other two, you discover that the driver is the bad guy you're trying to escape from. He either drives off a cliff and kills you, or leers at you menacingly and you then realize too late that the picture on the button was of a grinning skull rather than a smiley face as you thought (presumably also leading to him killing you.)
Night of a Thousand Claws: You have been cornered and are about to be devoured by ghost cats. The book then presents you with a wordsearch puzzle to determine whether you'll survive. If you don't solve the puzzle, the cats eat you, and you are told it's your own fault for getting a simple wordsearch wrong. If you do solve it ... the cats eat you anyway, because you were too absorbed in the puzzle to notice them advancing on you.
At one point in You're Plant Food! you can be trapped with a Mad Scientist who's trying to kill you. Your choices are to throw a random chemical in their face, or flip over the lab table to slow them down. The chemical turns out to be harmless, so the scientist catches you. Flipping the table injures the scientist, giving you time to escape - but then you discover the mechanical door won't let you out, so you're still trapped with the scientist who could wake up at any time.
Never Trust a Title: Nowhere in Escape From Horror House are you required to escape from a house - the story is based around you getting rid of poltergeists that have invaded a house. The titular elevator in Elevator to Nowhere is actually a dimension-hopping device.
Nice Job Breaking It, Hero: In one of the books that revolves around a mad scientist taking over a cruise ship the reader is on, this comes up twice.
Reporting the Mad Scientist who loudly and hammily announces to you that HE IS GOING TO BLOW UP THIS SHIP!!gets his head ripped off and placed on a giant turtle by the real villain, another mad scientist. He is not amused at you when you encounter him again, and would beat you up if he wasn't a giant turtle.
If you and your friend manage to climb up an empty elevator shaft, you get up to the deck, both covered in grease. He slaps your back in a friendly "you-did-it" way. Unfortunately, you being covered in grease, you accidentally go over the railing and into the water, with no way up as the ship sails into the horizon. Oops.
No Ending: Sometimes, your adventure won't end with a "The End" message. Sometimes, you'll just get thrown into an infinite loop that sends you flipping through the same couple of pages forever. In Escape From the Carnival of Horrors, you may find yourself traveling through a labyrinth with no end in sight until you hear a voice. You turn towards it, travel down another never ending tunnel until you hear another voice... and turn back the way you came.
No Good Deed Goes Unpunished: A devious example came up in Into the Twister of Terror. During one sideplot, talking animals hunt you down, because you figured out a secret that they don't want any human to know. You try to reason with them a few times to no avail, and they eventually trap you inside a abandoned school. You decide to release a bunch of small animals that were trapped behind cages and glass habitats as a sign that you're a trustworthy human. The animals' response to your messianic efforts? Use the small rodents you just liberated to attack and kill you. And...they do.
Puzzle Game: You'll see plenty of them within the series. Some puzzles even go so far as to uncover what page you need to go to next (and if you can't figure it out, you'll be directed to a Failure Is the Only Option page as a failure to figure this out).
Random Events Plot: A frequent criticism of the series. Most of the events don't exactly make sense or converge with any kind of internal consistency, which makes many of these books feel quite arbitrary with any quest. There are exceptions, but the bulk of the novels tend to go this route. Weekend at Poison Lake doesn't even hide this, since the trope IS part of the book's premise.
Into the Twister of Terror is one extreme example. The book contains several sideplots that go in many different directions with no cohesive center to tie all the madness together. Even the origin of the twister that causes all these events vary wildly between quests.
Ret Gone: Tick Tock, You're Dead is based around you trying to help your brother escape from a weird time-travel experiment before he is erased from time forever.
Schrödinger's Gun: Many of the books have a few choices where the two pages lead to completely incompatible scenarios — such as two different endings in which a person turns into two different kinds of monster. The branching points which decide between the two plots could in some cases be considered this too.
Shaggy Dog Story: Even when reaching the one good ending in Into the Jaws of Doom, it's debatable how good it really is. Yeah, you defeat the supercomputer, but then your friend P.D.A. — the avatar helping you for much of the adventure — "rewards" your heroic actions by turning you into your favorite action hero (an Indiana Jones Expy) and re-creating events from the movies he stars in. Fun watching it, but not so fun running for your life from a stampede, especially after dealing with a supercomputer who nearly killed you mere hours ago. The final words your character utters, "Oh no! Here we go again!", perfectly encapsulates your ironic situation.
Shout-Out: Readers familiar with the original Goosebumps series (i.e., 95% of them) will see plenty of references to them sprinkled throughout this series, mostly in the form of quiz questions.
Spiritual Successor: R.L. Stine previously wrote a CYOA series called Hark. The trademark randomness of the Give Yourself Goosebumps novels was also present on Hark; perhaps even more so. The closest GYG came to reflecting Hark's game design was Into the Jaws of Doom.
Technology Marches On: Some of the mentions of computers/the internet are now rather dated, even in It Came From the Internet (which was published in 1999.) Similarly, some situations in the books now seem redundant because of cell phones becoming common - for example, a choice in Welcome to the Wicked Wax Museum where you have to decide which button to press on a pay phone to call for help.
The Dog Bites Back: Lost in Stinkeye Swamp has an ending in which you are eaten by your own goldfish, which is pissed off that you haven't bothered to care for it as you were too busy trying to escape the book.
One storyline of Hocus-Pocus Horror involves you trying to help a dog that was being used in an evil magician's stage act. At one point, should you try to run away and leave the dog to its doom, it attacks you while invisible and you get killed.
Some of the bad endings involve your friends or sibling/s turning on you after you have treated them poorly in some way. You may also get to bite them back in the good endings: for instance, Tick Tock, You're Dead is based around you having to travel in time to find your bratty little brother, who ran off and got lost in a time travel experiment because he insisted "you're not the boss of me!" and wouldn't listen when you told him to stay put. One of the best endings is you being appointed leader of an alien race, smugly saying that now you are the boss of him, and making him your slave.
The Walls Are Closing In: Happens to you in A Night In Payne House when you encounter the Pink Room and need to have brought the right item to free yourself.
In Welcome to the Wicked Wax Museum, choosing to not go down a corridor gives you a happy ending, but at the cost of the author Breaking the Fourth Wall to insult your cowardice. For several paragraphs. Of course, this being an R.L. Stine book, going down the corridor gets you decapitated.
Several books will allow you to make a "safe" choice, but the book will mock you for being too chicken to take any risks, and usually punish you in-story. For example, if in Into the Twister of Terror you choose to go into the storm cellar during a hurricane rather than search for your dog, you get out safely but are told what a wimp you are and that as a result, you didn't get to have any adventures. In Welcome to the Wicked Wax Museum, if you don't follow your friends into a car (the three of you had broken away from the group during a school trip), the book again insults you, and then your teacher catches you and calls your parents.
You may also be scolded by the book if you don't complete a puzzle successfully (such as Night of a Thousand Claws; you have to make a list of words from the phrase "Spiral staircase", and if you don't get enough, the book insults you for your laziness in getting such a simple task wrong) or if you deliberately cheat in a scavenger hunt/inventory (Into the Jaws of Doom, A Night in Payne House)
Please Don't Feed the Vampires has an ending where, if you refuse to ring a neighbor's doorbell and ask your friend to do it, you are told the story has ended because you are simply too much of a wimp for it to go on any further.
Time Travel: Done in Tick Tock, You're Dead! and Danger Time. One ending in Revenge of the Body Squeezers has a spaceship accidentally transporting you to the 1960s.
Pretty much all of the books have at least one ending like this. A particularly bad example happens in Welcome to the Wicked Wax Museum where, in a wax museum that you know is full of living wax figures, you stand in front of a statue of a serial killer while bragging that no one would ever murder a nice kid like you ...
Video Game Cruelty Punishment: An equivalent. Sometimes the book will let you do something immoral, but you are almost always punished with a bad ending. These range from humiliating or self-defeating (in Diary of a Mad Mummy, if you try to leave your six-year-old sister to be killed by the mummy, he calls you out on it and then takes her to safety and makes her rich and famous) to fatal (in Hocus-Pocus Horror, if you try to abandon the dog you were supposed to rescue and save your own skin, the dog will attack and kill you.)
Zapped in Space uses this against you in the Abominable Snow Woman storyline. In one part of the book, the right clue to advance in the game was given away with the game's poster when you entered the arcade way back in page 3 or 4. There was a minor description of the lights' colors near the game's poster that was irrelevant at the time, but was a major clue for later. This effect is magnified if you do the Abominable Snow Woman storyline second. Unless you have a sharp memory or cheated to see the answer, you'll have to guess the right colors for the lights. Guess wrong, and you'll be led in the wrong direction.
Ships of Ghouls during the stranded-at-sea plot mentioned a miniature a magnet that you used to create a substitute compass to find your way back home. By this point, most readers forgot about the part when you grabbed the magnet, so the book referenced the page where you picked it up.
In Scary Birthday To You!, if you volunteer to stay at your house so everyone else can do the scavenger hunt, they leave you behind with Dr. Death with no intentions of coming back.
In Ship of Ghouls, when everyone's evacuating the bombed yacht, if you (somewhat foolishly) decide to swim hundreds of yards away to reach your best friend instead of getting into a lifeboat that's much closer, he tells you to go away, because your added weight on the plank he's hanging onto would make both of you sink. Kind of justified in hindsight, though his choice to reject you causes you to drown.
Deep in the Jungle of Doom has an ending where your friend taunts you about being to scared to go into a cave before her, and when you do you hear her voice acting like she's feeding someone, and then the cave closes, because it's not a cave - it's a monster's mouth
Also, the majority of books have at least one bad ending which is caused by your "friend" even if it means ignoring continuity for it to work.
Wrong Genre Savvy: Revenge of the Body Squeezers uses this trope as Snark Bait with the squeeze bomb scenario. You and a friend suspect the bomb is planted in a Rose Bowl float during New Years Day. The two possible choices was a "Man on the Moon" float and a "Giant Clock" float. Regardless of the choice you make, neither float contains the bomb. However, in the story narrative, you insistently express that the former float has the bomb; with the logic that because aliens planted the bomb, the correct float has to be the one referencing outer space. If you act on that impulse, story "you" gloats about how your solid instincts won't betray you. Nope.
With the "Giant Clock" choice, it's a subversion. Your friend thinks the aliens would plant a bomb on the float displaying how much time the bomb has to go off, but she only said that to throw you off track, because she's working for the aliens. However, the book rewards your open mindedness for the "Giant Clock" float, since you later notice another float passing by, which has black gumballs that resemble squeeze bomb victims. That clue guides you to the bomb's real location.
In Scream of the Evil Genie you are stranded on an island when a parrot appears and you then have the choice of whether or not to follow it. If you figure that a parrot has to be bad news, the book complains about your ingratitude and says that if you've read the series before, you should have known the parrot was trying to help you. You're allowed to continue only if you say this is your first Give Yourself Goosebumps book.
You Bastard: The author does a good job making you feel moronic for making some questionable choices. Sometimes, the book will give you another chance for making a sloppy decision, but others will automatically end the book there. Also done for readers who blatantly cheat, like bring more items than they should have (A Night in Payne House and Zapped in Space) or don't attempt to solve the otherwise simple mazes the way they were meant to, and instead only pick and choose the possible page number. Get it wrong, and something bad happens.