[FrankHudson]

There are many ways to deal with this, and several have already been discussed. I agree with everything that's been said already (including the "most audiences are not all that enamored of instrumental solos by most players": these are all some of the ways to deal.

Still, speaking of arrangements/performance there are some songs where it helps to take a break from the words. For example, something happens that isn't described but only assumed, and the song's narrative takes thing up again afterward. Or something emotional or thought-provoking enough has been invoked and you want the song to hang around a bit to let that sink in.

At the height of the folk scare this is where the neck-rack harmonica solo would go. Most folkies weren't harmonica virtuosos, but it worked back then.

How good is your rhythm? If you can play your single note lines with same drive and propulsion they can carry on without the chords behind them. There's no law official or empirical that says that a whole chord must be heard at all times. If your "full arrangement" has some cross-rhythms or other timing interplay with the chordal guitar part and the melody guitar part, consider foot taps or stomps, or even one of those "porch board" style amplified stomp-percussion devices.

One doesn't have to be a virtuoso like Joe Pass to intersperse chord voicings, sometimes even partial chords inside a predominantly single note passage or the statement of a top line melody. Similarly, even for flat pickers, lower string drones and partial chords can ring out behind treble string parts. Altered tunings may give access to some lower harmony notes.