I don’t usually appreciate head-hopping in novels. The author gains a global perspective but sometimes sacrifices intimacy and suspense—when we see everything in real time, the heroine’s discoveries don’t always land with the same impact.
Unless the author is Margaret Coel. In The Perfect Suspect, the author makes a good case for the technique, employing it to craft a book with perfect pace. Using duel points of view, that of the killer and the investigator, she lights the candle at both ends . . . and we’re happy to watch it burn.
The plot involves the murder of a candidate for governor in Colorado. The point of view shifts from the killer, a female police detective by the name of Ryan Beckman, to a journalist, Catherine McLeod, as each races to track the other. By alternating POV, Coel not only illuminates their motives but sets the two on a course that can’t help but result in a collision. It’s a heady rush to a satisfying end.
What do you think? When you read or write fiction, are two heads better than one?