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I received a couple comments about this, asking if I can keep the dialogue, or if it helps that I know the trajectory of the scene. Short answer: Eh...kinda.
A thread on dual/multi POV. https://twitter.com/BrigidKemmerer/status/1362098912954318852
A thread on dual/multi POV. https://twitter.com/BrigidKemmerer/status/1362098912954318852
Most of my books are dual POV, with the exception of VOW, which has four. To keep your characters complex and multifaceted, they need motivations/challenges that are related to the main plot (obviously), but they ALSO need motivations/challenges that aren't.
GENERALLY, when writing in dual POV, you want to write the scene from the character who has the most at stake, whoever has the most to lose, whoever is undergoing the most emotional upheaval in that scene. This sounds like an easy choice, and sometimes it is.
But sometimes it's NOT! Sometimes there's a lot at stake on both sides, and that often means I have to write the scene from both sides to see which one carries more impact. The scene in CURSE where Harper meets Lilith in the arena and discovers Rhen's ...situation was like that.
In that scene, they BOTH have a lot at stake. But it was more powerful in Harper's POV, so that's the version I kept. Anytime I have to rewrite it, the second version is always better. It's because I trust my gut when something isn't working.
But the reason I can't keep all the dialogue is that sometimes it doesn't work. If POV character is feeling flirty and provocative but the other character is feeling anxious and withdrawn, the dialogue won't work as well when you swap heads. You need the internal monologue.
Otherwise the flirty/provocative character's dialogue has a tendency to turn from "gently teasing in an understanding way" into "an insensitive asshole who can't see that Anxious/Withdrawn is a mess."
This also affects the trajectory of the scene. The general choreography might be the same (they are drinking tea, then they debate where they're going to sleep, then they figure it out), but the entire emotional impact of the scene is going to completely shift.
So it really does turn into a full rewrite. The physical movements of the characters is the easy part. It's everything else that's "work." And I'm not complaining. I love this part of writing. I just wanted to be clear that dual POV isn't as simple as head-hopping. 
/fin
/fin
