Today I visited Books to Light Your Fire and provided this guest post - Keir and Selene debating the merits of the dual POV in Aftereffects. So much fun!

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Keir: So the question here is what . . . why we didn’t want some third person telling our story for us?

Selene: Yeah, that’s the question.

Keir: Why would we want that?

Selene: I don’t know—because a third person is unbiased, I guess. And they can speak to what other people are thinking, too.

Keir: What other people? The story is pretty much just us.

Selene: Like Justin, for example.

Keir: No one cares what Justin thinks. I don’t even care what Justin thinks.

Selene: (laughs) Nah, I really don’t care, either.

Keir: Besides, Aftereffects isn’t about some bank heist. It’s a love story.

Selene: A friends-to-lovers love story.

Keir: Exactly. It’s kind of personal. To have had some third person telling it would’ve been weird. Don’t you think?

Selene: I agree. Another option, though, is that I could’ve told it.

Keir: By yourself?

Selene: Yes.

Keir: Not happening.

Selene: Why?

Keir: That’s boring.

Selene: What?

Keir: You’d have spent the whole book going ooohhh Keir, he’s so hot, he’s so perfect, he has such a big—

Selene: Keir!

Keir: (laughs) You know you would.

Selene: You’re the most annoying.

Keir: And you, Ms. Georgiou, are my aching, forever love. But you have to admit, Aftereffects is much better because of the brilliance of my narrative voice. Also, not to bring up a sore subject here, but you didn’t always read the tealeaves correctly when it came to us.

Selene: Ouch.

Keir: It’s true, though.

Selene: It’s kind of true. Much as I hate to admit it to your arrogant, smug face.

Keir: Handsome, did you say?

Selene: I didn’t say that, no.

Keir: (smiles) And don’t forget that I told some great stories in Aftereffects.

Selene: Like what stories?

Keir: Like the Jiffy Pop story in Chapter 21. I gave some valuable insight into my upbringing.

Selene: You mean how ten-year-old you ran around pretending to be a superhero?

Keir: Human Torch, baby. Flame on! (reaches out for a fist bump)

Selene: Flame on!

Keir: You know, one of the reviewers said they loved the way I told the part about when you made me go with you to Bloomingdales.

Selene: I didn’t make you. You were holding up your side of a bargain.

Keir: Yeah, whatever.

Selene: I’m still a little mad at you for that chapter, by the way. Did you really have to tell everyone about . . . you know . . .

Keir: (grins big) I don’t think I do. What are you referring to?

Selene: Hush, you.

Keir: (laughs) You’re blushing! That part was awesome . . . Any guy would agree. And that’s why we needed my POV. We needed a man’s perspective.

Selene: And what would’ve been your perspective on the part where you told me you wanted every side of me in every light of day for as long as we have.

Keir: I don’t remember it like that.

Selene: Which is why we needed my perspective. (smiles big) It’s all right there in Chapter 12.

Keir: I knew I should’ve narrated that chapter. And speaking of which, I need to talk to L.J. about the number of chapters I got. I don’t think it was 50/50.

Selene: She probably didn’t think you could keep a secret.

Keir: What do you mean?

Selene: I think she wanted me to tell the earlier chapters because good storytelling means you let a story out slowly. And you’re kind of . . .

Keir: I’m kind of what?

Selene: Awesome. (smiles)

Keir: No. (laughs) Nice try, Georgiou. What were you going to say? I’m kind of what?

Selene: You’re just very . . . introspective. You analyze everything. Which is a good thing. It’s one of your best qualities, Keir.

Keir: But?

Selene: No but.

Keir: (raises a brow)

Selene: I just think once you got rolling, you would have told the whole thing in one long chapter and not left anything for me.

Keir: So you’re saying I’m too awesome of a storyteller.

Selene: I don’t think that’s what I said at all.

Keir: And a bit of a demigod.

Selene: It’s a good thing I love you.

Keir: It’s a damn good thing you love me.