My question to you is about headhopping, commonly found in romances. Switching from one character's head to the other's can be done fairly well sometimes, but I personally find that device loathsome. As an editor, do you find this pov treatment (that's my nice word for it) viable in any other type of writing?
Actually, in my experience, romance has tended far more lately towards single POV (single per scene-- with two protagonists, most romance novels have to use both in the book). I see very little headhopping except in new authors and the bestselling authors who can get away with that.
But if you're reading bestsellers, you could well be getting more headhopping than you like! They can rely on their facility at storytelling more than their craft. But most romance writers are single-POV advocates, in my experience, as are most romance editors.
And I would probably reject any manuscript that came to me with headhopping, as to me that signifies a lack of control of the narrative and a lack of understanding of the reader's experience. If it was a great story, I'd probably ask the writer to learn about POV and resubmit. (You do sometimes get great stories with headhopping, because often that's a result of a particularly creative writer who is so great with character, she can't settle on any one.) Headhopping is often the sign of a new writer or a young writer, and usually a good new writer just has to have that pointed out and explained, and once she gets it, she can transform her work. But it's very much a transformation of mindset. It's hard, I think, for those who are innate single-POVers to understand that, because it's so natural for us to park in one POV and see everything from inside that character. But it's pretty amazing how quickly former headhoppers change when they understand what POV is, and what shifting means.
By the way, I distinguish between headhopping (uncontrolled shifting of POV) and multiple POV, which is shifting for a purpose, and the POV always in some character's head. That, I suspect, is truly the POV of the 21st Century, as it is more cinematic. (Omniscient was the dominant POV mode of the 19th C, and single-POV of the 20th C, I'd say.) Multiple POV and omniscient are closely related, and single-third and first-person are closely related; that is, each pair use much the same narration techniques and focus.
For a good example of how to do multiple POV in romance (and it makes very good sense in romance, as there are two protagonists, and both are present in most scenes, and both have journeys), read Susan Elizabeth Phillips's novels. Ain't She Sweet is great for that, and so is Nobody's Baby but Mine. She usually has four POV characters (has two romances in most books), and POV is carefully controlled. But she uses multiple POV to show how differently the characters interpret events, and that's a great reason to use multiple POV.