>>2701265My usual method of switching is more similar to what you're doing already, except that I try to always use the PoV character's name somehow in the first few lines. So for this transition it would be something like:
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This was incredible!
She hardly would have thought it possible, but Night Lotus was really going toe to toe against a Cookie, and holding her own. Tiffany watched with a smile, hardly even thinking about the side-tie panties around her ankles.
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On the other hand, I've mostly only used perspective switches like that in stories with at most 3 or 4 PoVs, and never in a lengthy story that keeps introducing new ones with almost no narrative connection to established events. That's the more significant issue with it: once you reach about 10 or so PoV characters, the reader has to remember exactly what each of them is doing and/or their distinctive narration style (and that's if you can somehow maintain a consistent and distinctive narration style for every one) or else sit and wonder "who is this and am I supposed to know what's going on yet?". And it's a whole lot worse if there's the possibility that it's really a whole new character and the reader really isn't supposed to recognize them at all. Those are the most problematic PoV transitions. The first time we switch to Samantha it takes 30 lines before her name appears in the text and until then the best I could come up with is "this must be someone new, but I have no idea who or why she's barging into a skyscraper to confront the CEO." Searching through both documents, it seems the only appearance of the name 'Samantha' before that at all was an oblique reference all the way at the beginning, so there's basically no way for anyone to not be totally lost when she appears on-page without warning. The appearance of 'the werecat' has most of the same issues, but I *think* in that case it's intentional.
