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Dragna's Blog: How to Run Internal Arcs (Internal Arcs Pt. II)
🕑 Added 2025-01-11 16:31:14 +0000 UTCInternal Arcs Series
Part I: External & Internal Arcs
Part II: How to Run Internal Arcs
How to Run Internal Arcs
Last week, we talked about internal arcs: what they are, why you might choose them over (or in combination with) an external arc, and what they might look like in fiction. This week, we're going to examine how internal arcs can actually be executed, and by whom.
Let's start at the beginning. An internal arc, like any narrative segment, is driven fundamentally by a dramatic question: a goal and a set of stakes conveyed by an inciting incident. In an external arc, dramatic questions are pretty straightforward—in A New Hope, it’s: "When the Empire kills Luke Skywalker's aunt and uncle while hunting for R2-D2 (inciting incident), can Luke make his way to the Rebellion and destroy the Death Star (goals) in order to defend the Rebellion and the galaxy (stakes)?"
However, as we discussed in last week's post, there's a second, deeper, internal arc happening concurrently with the external arc—and a dramatic question to go with it. We might frame it like this: "When Luke learns that his father was a Jedi (inciting incident), can he accept his legacy and learn to trust in the Force (goals) in order to destroy the Death Star (stakes)?"
Note the interplay here: the stakes of the internal arc are the resolution of the external arc. Put differently, an incomplete internal arc is an obstacle to completing the external arc; until the internal arc is complete, the protagonist (due to, e.g., an internal flaw or fear) cannot successfully complete the external arc. By completing the internal arc, the protagonist achieves self-actualization and wins the right to win the external arc; by completing the external arc, the protagonist communicates that self-actualization to the world.
This leads, in turn, to a simple model for building internal arcs:
First, decide on the external arc’s dramatic question. For example, this might be: "When the players are spirited away to Barovia, can they defeat Strahd von Zarovich in order to survive and escape?"
Second, present that external dramatic question to each player individually (either directly, if you don’t mind spoilers, or vaguely, if you do; e.g., “this is a story about defeating a great evil in order to save yourselves and the people you meet”).
Third, ask each player to propose a character flaw or fear that will obstruct that external arc. For example, a player character might be a liability in the fight against Strahd because they are too cowardly, reckless, or reluctant to embrace responsibility. (If the player chooses, they can accentuate this flaw or fear by tying it to some event or experience in their backstory, though it isn’t strictly necessary.).
Fourth, work with each player to expand their character's "obstacle" into a proper internal arc. For example: "When the barbarian is spirited away to the land of Barovia, where monsters and traps lurk around every corner (inciting incident), can they learn to conquer their reckless nature and look before they leap (goal) in order to keep themselves and their friends alive long enough to defeat Strahd (stakes)?"
Fifth, work with each player to map out their character's rough arc. Ask the player whether they would like their character to fulfill their internal arc by (1) the middle of the campaign, (2) the beginning of the final act, (3) the external arc’s climax (e.g., the fight with Strahd), or (4) some other point. You don’t need to convey exactly what those acts or arcs will look like, but you should be able to get a general sense of how much time the player wants to spend completing their internal arc. (A player, especially an experienced player or one who enjoys acting and collaborative storytelling, may not want to set a clear expiration date for their character's internal arc. That's perfectly fine; so long as you trust each other, you can check in with them at the end of each arc to discuss avenues for development in upcoming arcs and sessions.)
Sixth, each time you prepare an arc, you should identify any particular characters, scenes, or encounters that might present an opportunity for this character to wrestle with their internal arc. For example, for our reckless barbarian, the DM might intentionally accentuate opportunities for the barbarian to anger Vladimir Horngaard or rush into dangerous parts of Castle Ravenloft.
Seventh, ask each player to share their character arc with the rest of the group. You need not do this right away, and might prefer to wait until each player has had a chance to get to know the other characters in-game. (The end of the first arc is often a good time to do this.) This allows your players to notice, engage with, and create scenes to explore each other's internal arcs, accentuating the opportunities for collaborative storytelling.
Eighth, encourage players to discuss their internal arcs as the adventure progresses. For example, a player might invite other players to start fights with them over their flaw, or plan out opportunities for their character to seek counsel from others.
Above all else, remember: unlike an external arc, whose goal, stakes, and beats are set by the DM, an internal arc is owned by the player who created it. At best, you (the DM) are its facilitator; the player is the master.
