Or POV as all us hip-with-the-writer-lingo call it *guffaws at calling herself a writer in a public arena*.
Once upon a time a very famous comedian made the observation that in nature films, we tend to cheer for which ever of the animals is the focus of the film. For example if the film is about lions and we see a lion chasing an antelope then we're all like "Go Lion! Catch that antelope! You can do it! Yay the Lion caught the antelope and now the Lion will live!" but if the film is about the antelope we're like "Run Antelope! Duck. Dive. Run faster damn you! Don't let him catch you! Oh, you let him catch you! You horrible lion. We hate you lion!"
That, my friends is the power of POV.
The extremely clever K M Weiland from over at Wordplay put it very succinctly in her post about how many POVs are too many when she gave the tip that
"POV is most affective when assigned to the character who has the most at stake in any given scene".
When I heard that it was like hearing something you kind of instinctively knew but really needed it to be affirmed by a higher authority before actually believing it.
But you have to be careful not to spread the love too thinly. Too many POVs and the reader runs the risk of not investing enough in your main characters because your minor characters have had too much to say and the main characters not enough.
How have you handle POV in your work?