When you choose one POV, the verbal camera records the entire story through a single character's lens. The reader can, in essence, become the character. This creates a very intimate experience. Many readers enjoy it, others don't.
The difficulty is that the reader cannot know anything the character doesn't see, hear, overhear, intuit, or conjecture. Benefits of a single POV is just that: limiting what the reader knows. You can create a sense of claustrophobia or terror. You can utilize an unreliable narrator. The reader follows the clues along with the character, leading to twists and surprises.
Sometimes you need to shift the verbal camera between one or more characters so the reader is privy to information the main character is not. This can add to the suspense factor if handled well.
There are several ways to utilize multiple points of view.
One method is to pull the camera back to third person distant or omniscient point of view. The verbal camera is not connected to any one character, so it can zoom in and out anywhere at any time. It can record the conversations, actions, and thoughts of any character. The key is to keep the reader aware of the camera's shifts.
Another method is to switch between several first-person accounts or third person point of view narrators.
Think of it like a relay race. Each member of the team should have a purpose and relate their portion of the the journey. There should be a good reason for them to participate. Whether it is different combatants, friends, foes, antagonists, or love interests, their scenes should count.
In a Con, Heist, and Prison Break you may wish to switch between participants whether it is members of a crew or friends and foes implementing a con. A single POV may not be enough to pull off the stunt.
In a Literary Drama, you may shift between family members, friends, foes, or even try to gain empathy for the antagonist using his POV.
In a Mystery, the reader usually experiences the story along with the sleuth, but you may have more than one investigator. Some mystery writers like to show the antagonist's point of view in a few scenes and show the murderer killing the next victim.
In Thriller & Suspense tales you may want the reader to have information the main character does not. You can supply this by moving the verbal camera between characters, often at a remove in third person.
In a Historical or Western tale, you might shift the verbal camera between struggling townspeople. You can explore the different sides of a racial or ethnic divide. You may switch between your protagonist and other characters involved in subterfuge, love affairs, espionage, or intrigue. Using more than one POV or omniscient POV, allows the reader to traverse areas beyond the main character's domain.
In a Horror story, we a rarely experience the swamp monster's or ghost's point of view. But you might wish to move the verbal camera from victim to victim or explore the sadistic antagonist's rationale or the haunted location's backstory with verbal film clips
In a Team Victory, you may wish to include both coach and team member's POVs, perhaps even their competitors' behind the competition efforts to win.
In Romance, the reader normally sticks with the protagonist, but you can move the verbal camera to take in efforts by the love interest or the friends who support them (and have their own romantic interests) or foes who work behind the scenes to break them up. The caveat is to follow the expectations of the subgenre or imprint requirements.
In Fantasy and Science Fiction, it is common to move beyond the protagonist as the main battle encompasses different layers of conflict and multiple fields of battle. The antagonist is often a POV character as well as key allies on both sides of the central conflict. There can be multiple teams competing against one another. Secondary characters may have hidden motives and shifting loyalties. Focusing the camera on their efforts can illuminate or mask the reader's understanding of what is in play.
Like a relay's hand-offs, transitions between team members should be smooth. Avoid giving the reader whiplash by rapidly switching POVs within a scene. It is critical that the reader can tell which team member is holding the baton. Make sure you clarify each hand-off with transitions. It is a good idea to switch scenes when you switch points of view. Some writers using omniscient move within the scene, but they are also often guilty of head-hopping.
It is a cop out to throw POV characters in for a scene or two to avoid the hard work of presenting the information to the reader through your existing team members. It is like tapping a member of the audience to run a leg of the race.
Also avoid the urge to add a secondary POV character because you enjoy him and want to gift him with a moment in limelight. If he isn't part of the relay team, give him his own race in another story. Otherwise, the reader wastes time trying to figure out why that bit player was crucial and waits for him to return. Annoying detours take the tension out of the race.
Each team member should progress the story and add new information. Repetitive actions and information reveals are like watching replays. Unless reviewing the information twists it or sheds new light, it isn't necessary. That's not to say a group cannot meet up and share what they (and the reader) have learned. They can. But keep it short and simple.
It can help to list each player and jot down notes about their part in the relay. What actions do they take? What information do they discover? How does the character help or hinder the progress toward the overall story goal or specific conflict? How does his participation affect the speed and trajectory of the story?
At the end of the first draft, if you find a character's POV doesn't really add anything, either cut him or rewrite his part to give him a valid reason to participate.
All of the POV team members can meet up at the end for the celebration or be dismissed along the way, but don't forget to wave goodbye to them. Make sure the reader knows the character has exited the story and avoid "But what about Bob?" dangling threads.
Further Reading:
Understanding Scene Goals
Do You Need A B Story?
Stirring the Plot: Friends and Foes
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