So there are some choices here: you can choose to focus on one POV instead of both. Is there one POV that is more action heavy and another that is quieter? I would likely choose the action heavy one. https://twitter.com/LesiaJoukova/status/1355952657161191430

Another option: Instead of focusing on the set-up, you can focus on the the moment the POVs converge and dedicate just a little bit of the query to the set up. But you do need to balance this with making sure the stakes are clear.

A third option (this is what I did with the split POV book I sold earlier this month): I put the focus on the characters as a "they". They're introduced as a pair. It's not "Penny doesn't get along with Tate" it's "Penny and Tate don't get along."

I linked the characters together, so the only time they're talked about individually in the pitch is when we're discussing their relationships to other (ie: when the pitch talks about their individual mothers). By doing this, I've already established there isn't 1 MC, there's 2.

Now, this 3rd option worked for the pitch because it's a YA Romance and it's about two girls who aren't friends, but who are forever thrown together because their mothers ARE best friends. So by linking them in the pitch, I'm playing into the themes of the novel inside the pitch.

The question: what themes can you bring out in your pitch without being like "this is the theme of the book" can lead you to some interesting places.

And the fourth option: you focus on the plot vs the POVs. Assuming they have a common plot, what's separating them? There's gotta be a reason why they are kept apart for however length you keep them, right? So what is that? Is there something that grabs attention in that?

It often feels really weird to look at your book and pick at it for the "appealing" parts, because as the writer, it probably all appeals to you, because you wrote it! But the query is about selling the idea hard enough to get the agent to read further.