At the center of The Radore are two sisters, separated at birth, rising on opposite sides of the same occupation. Neither knows the other exists. The reader does — and that gap is the engine the whole book runs on.
Four plus points of view, rather than two, is what let that engine work the way I wanted. Two alternating POVs give you a clean countdown to a single reveal. Four plus let me build out a fuller world around the sisters, with other characters carrying their own full stories in the meantime, so the reader's awareness of the gap builds gradually rather than arriving all at once.
Every chapter had to work as its own full story, independent of the sister structure running underneath it. Each of the four plus POV characters is dealing with a genuine crisis of their own, one that would matter to the book even if the sisters never came into it. The larger irony rides along beneath the surface, but it was never allowed to be the only reason a scene existed.
Dramatic irony at this scale is an act of trust: asking the reader to carry something the characters can't, and paying that trust back by making every page worth reading in its own right, secret or no secret. I wanted a second read of The Radore to feel richer than the first — not just newly explained, but newly seen.