Is it really the end? Could you ever potentially come back to Legion?
I'd like to do more with Legion—though it's likely to be in the form of other media. We have a television show in the works, and I've toyed with doing some original audio stories with Stephen in the lead. (Though the Marvel show Legion probably means I'll need to change the name of mine if we do get the show off the ground.)
You've talked a bit elsewhere about how this is some of the most personal storytelling you've done. What do you think you've discovered or uncovered through exploring mental health and the mind through the story of Stephen Leeds?
I am often quite certain I know (in general) what a reader's reaction will be when I release a story. That's part of my job—to create something that produces an emotional response. Art is the act of inspiring emotion. Once in a while, however, I do something for the emotion it inspires in me, with less regard for how I think it will be received. Of course, usually these two are one and the same—the emotion it gives me will be the emotion most readers will feel.
This story is different. It is partially about mental health, yes, but it's also about the voice of a storyteller finding balance between all the voices crying for his attention. It's about the unwritten stories.
You see, as a young writer, I never worried if I'd have time to get to all the stories I wanted to tell. I was far more focused on whether or not I'd even have a career. I wrote assuming that if a story didn't work now, I'd eventually find a place for it. But as I've grown older, the realities of aging have begun to whisper to me that I need to stay focused—that if I want to complete my life's work, some other stories will simply have to be abandoned. That has been a hard realization. I don't know if anyone else will see that meaning in this story, or how this even relates—but it is certainly part of Lies of the Beholder for me. That's the part I say is very personal, but which means it's more difficult to gauge how readers will respond—because so much of this is a very individual story.
The mysterious Sandra plays a big part in this final story—did you know from the beginning what her role would turn out to be or was this ending a surprise to you? (Without spoiling anything, of course!)
With my shorter works like this, I tend to let the story evolve over time more than I do with longer stories. This means more discovery, as I'm not sitting down with a framework—the goal, often, is to practice other skills in my writing. (Things that my novel writing doesn't teach me.) In this case, I had ideas for Sandra, and some of those ended up going all the way through—but some I discarded over time. I'm not one who is "surprised" by my writing, however. I don't generally like that phrasing. Sometimes as you're working on a piece, you discover a thread or theme that intrigues you—so you dig into it further, then develop it. Sometimes this means the final piece of art doesn't match the outline. It's not really a surprise so much as a common side effect of the writing process.
I'm curious how you develop Leeds' aspects. Do they come to you fully formed? Did you get attached to any of the aspects in particular as you write them? Do you have a favorite?
Generally, I don't play favorites with characters. If they all haven't been my favorite at some point in the writing process, then I'm doing something wrong. But creating characters, at the same time, is the most difficult part of the process for me to quantify. No character comes fully formed; it's always a struggle to find their voice. Yet I always know that voice is out there to find, and have an instinct for when it's wrong. So the process of finding it is more a search than it is a building project.
Lies of the Beholder finds Stephen Leeds in a more precarious place—psychologically and otherwise—than we've ever seen him. What are the challenges of writing a character like this with so many aspects? Was this a difficult story to write?
This was a very difficult story to write, but not because of all the aspects. They've always made the story easier, not harder. Being able to take an individual's personality and split it into various themes and ideas...well, that was fun, and helped me understand him a great deal.
The challenge of this story was finding myself wanting to explore the more philosophical and conceptual side of what it means to be Stephen Leeds—and why I related to him specifically as a character. I had to decide if I wanted this ending to be like the other two novellas—pretty straightforward detective mysteries—or if I'd let myself go off into something more conceptual.
In the end, I went more conceptual, which I felt was appropriate to ending this series. However, it does mean this story was a challenge in that I was dealing with some heady themes while trying to do justice to the actual mystery. I'm not 100% sure if those two ever ended up balancing right, but I do think this was the correct way to go with the ending.
Before we jump in on the third installment [of Legion], can you tell me a little about where this idea came from and how it developed into this novella series?
I was talking with my friend Dan Wells, who was writing a story about a schizophrenic. I started brainstorming this idea about a person whose hallucinations helped them, kind of turning it into a super power. Dan laughed and said, "That’s much more a Brandon story than a Dan story," and he was right—so eventually, I decided to write it myself.
[Discussion of Lightweavers manipulating other forms of electromagnetic radiation]
But the ultimate form (That Brandon said would be too much to be practical both in needed stormlight and application) would be the control of Gamma Radiation. If this could be harnessed, Lightweavers could literally become mini nukes, or death guns. The biggest downside to making Gamma radiation would be the damage the lightweaver would most likely suffer. So gamma radiation is impractical but its a fun thought experiment.
The best part of this whole speculation was how excited Brandon was about my train of thought. I don't know if anyone had brought up this train of thought before. But he was happy to remind me that things will get pretty interesting when Lightweavers discover lasers and start using them in combat.
Before I read Oathbringer, I decided that if I had to pick an Order, I would be an Edgedancer. And then we got to the very end of Oathbringer, Mayalaran. It was very interesting, because my name is Maya, and I'm an Edgedancer, and I have long brown hair. And it kind of threw me for a loop. So I have to ask, who did you base that character off of?
That character is not based on anyone specific, but maybe I was channeling you somehow.
Can you tell me something about Hoid that nobody really knows?
So, I get asked this enough that I've run out of the easy facts. So usually, I have to RAFO that, just because rattling them off is really hard to do, the random facts ones. I used to be able to 'em, like early, I'm like, "This, that." But now, what do I say that won't be a spoiler? That's not known by anybody?
Let me ask you this. Is Hoid basically collecting these different Investitures from all the different planets?
You have definitely seen him trying to do this on multiple worlds. You have seen evidence of him using Breaths and Allomancy, and you have seen him... do something like Lightweaving that he calls Lightweaving, and you have also seen him try to get AonDor and fail. That's in the extra bonus scene in Elantris.
[Warbreaker] ends on, you could totally write a second one. Is that in the works?
It is, but it's kind of a distant plan. It's kind of just more for fun. I wrote this-- I had already written Way of Kings, and I wrote this as a prequel to Way of Kings on a different world, and then it got published before Way of Kings got published. But the characters from this were already continuity in Way of Kings, so I just kept using them, because I figured it works out. Really, Warbreaker, I see it as Vasher's (and Nightblood, the sequel), the prequel, to where he came from, who was Kaladin's swordmaster in the first version of Way of Kings back when Kaladin was training to be a Shardbearer in the first book. Vasher was a major part of that, and Warbreaker was a flashback to where he'd come from.
Vasher is Zahel, right?
Yes, Vasher is Zahel from The Stormlight Archive. Who is still kind of the swordmaster, but he's no longer Kaladin's, it didn't work out that way. But he ends up as Renarin's instead.
In between the first five [Stormlight books] and the second five, are you personally taking a ten-year break?
No, it shouldn't be ten years. I do plan to write the third Mistborn trilogy. (Second trilogy being four books. But, you know.) I do plan to write the second Mistborn trilogy before I do that. But those should be 200K words, which means I should be able to write one, do a novella, write one, do a novella, write one. So we're talking about probably that taking me five years to do all those. And then I come back. So it's probably a five-year break, would be my guess, during which you get a trilogy of Mistborn books. We have to work in Elantris there somewhere, but I have to stay focused at the same time, so it's kind of hard.
Matrim Cauthon, Kelsier, and Vasher all decide they need to get together and run a heist on Hoid. How do they do it? Why? And what are they looking for? Assuming they know where his "hideout" is...
Mat has to be persuaded. He doesn't think this is worth it. Once he knows about Fortune, he'd be interested.
Kelsier wants to beat him to a pulp.
Vasher is very utilitarian about it, and agrees that having access to him would be smart, but dangerous.
Stormlight production by Bondsmiths. Is this a Dalinar-only thing, or a Bondsmith thing? Has it been used historically? Or am I getting RAFOd?
You're getting RAFOd... I'm gonna RAFO it. You should know the answer to that eventually. But not yet.
I also had a question about Sazed. When you were writing him as a character. So, I noticed he says "I think" a lot, which is a very Japanese thing to do.
Yes. So, I've used this before; Galladon does it too, "kolo." A lot of Earth languages do it. Japanese is one, Korean does it. And it is one of these things-- we don't do it the same way in English. "You know?" But it is one of those things, and it is a cultural thing from the Terris people, and should be a tick that will help you pick out people who have been socialized like Terris people.
At the end, Wit, with the little girl and the doll and bring the doll to life, it reminded me of Warbreaker.
Yeah, he was using Breath for that. He was using Breath he had gotten from somewhere, I'll say, but it was actually the other world's magic system. Vivenna was using them, too, in Oathbringer. When you see her fighting with her cloak. That's an actual fighting style people would do; her cloak's doing some extra stuff.
In The Stormlight Archive, do we ever find out how the Assassin in White, how he gets the sword?
Yes, that should be next book.
And does it intertwine any more with Warbreaker?
Oh... that you're gonna have to wait a little while for. You're talking about Nightblood. I thought you were talking about the Honorblade. Next book will explain how he got the Honorblade. How he ends up with Nightblood, really how Nightblood got onto the planet, is gonna take a little while. I will work it in. But it's gonna take a while.
Does that sword have a character arc, because it feels--
The sword is important and relevant to multiple series.
It's getting better.
He has learned some things in the intervening years. He learns real slowly.
You have written before on Reddit that you had to add some scenes for Perrin in the epilogue, even though the majority of the epilogue was Jordan's. Did you have to figure out endings for any other characters, or did he write them?
I did have to come up with endings for other major characters. Other than Perrin, they were strongly suggested by the notes or by the books. And technically, he had in the notes, Perrin's absolute end. One of the few things that it said was, "Perrin ends up as king." So, his absolute end. But I did have to do lesser than Perrin, but still some major.
Perrin finding Faile. Was that Jordan's? Or was that you?
That was me. He did write the scene-- I think this is the epilogue, where Mat comes back to Tuon, and things like that. Like, that whole scene was finished. The whole scene where Rand comes out of the cavern, all that stuff was finished. Some of the stuff with... Cadsuane, we had to extrapolate. Not extrapolate, he had some of the things in the notes. Some of the other ones, we had to. Others you would consider main characters, we decided on. Harriet decided on a couple of things.
Galad and Gawyn?
I'm gonna have to RAFO that, because I think Harriet has not wanted me to go down that path. I would say that major chunks of the Egwene and Gawyn plot were finished and written, particularly a lot of the stuff in Towers of Midnight. But there's a few things she's asked me to stay away from. One is who decided what happened to Egwene. Harriet has asked me to ease off on that one.
Is there a Connection Aon?
Yes, but it has only slight cosmerological ramifications. It does have them, though.
What is the order of the Stormlight books? Like the first one is Kaladin's--
First one's Kaladin's. Second one's Shallan's. Third one is Dalinar's. Fourth one is Eshonai. Fifth one is Szeth. Sixth one is Lift. After that, I'm not sure if it's Taln or Renarin next. Probably Renarin.
Is Skyward gonna be related at all to Silverlight universities?
It is not, good question. Skyward is not related to the cosmere. It does mention Earth, which is kind of one of my dividing lines. But it is related to something else I've written.
Did Kelsier leave Scadrial when he went to the Ire fortress?
I consider him not having left, but being very close to leaving. He couldn't have actually gotten off-planet with the way that he existed at that point. So, no, he did not leave Scadrial. At least the sphere of influence of Scadrial.
The device the Ire were planning on using in Secret History. Were they testing it for something?
They actively wanted it to work there.
Like, say, something involving Sel and the Spiritual Realm?
There are different applications that they had considered, but I wouldn't call what they were doing a test, right then. They wanted to use it for what it was used for, yes.
When Lift eats food, does she convert it directly into Stormlight, or some other form of Investiture?
RAFO.
She noticed that the race in Skyward that the people are fighting are Krell, and that there are krell in Sixth of the Dusk.
That is not a direct connection. It's just, the Krell are a race of aliens from Forbidden Planet, one of my favorite classic science fiction movies, and I'm just doing it in Skyward as an homage to that. Krell in Sixth of the Dusk is just me looking for a thing that sounds like the right name for the thing.
So they're completely unrelated?
Completely unrelated. Other than the fact that I've watched Forbidden Planet, like, six times.
How did Preservation create the Terris prophecies in the first place, to make them known to people?
I'm gonna RAFO that, just because it gets really sticky when I have to explain this exactly, and I'm gonna shy away from that right now.
Kaladin kind of went back on his Oaths in the second book, right?
Yes. He started down that path.
How could Shallan or Lightweavers go back on the truths they make? And did Shallan do any of that in Oathbringer?
No, the Cryptics-- remember, how the spren is viewing this is very important. The Cryptics have an interesting relationship with truth. Harder to break your Oaths in that direction with a Cryptic. Harder to move forward, also, if you're not facing some of these things and interacting with them in the right way. But, while I can conceive a world that it could happen, it'd be really hard to for a Lightweaver to do some of the stuff. Particularly the ones close to Honor, you're gonna end up with more trouble along those lines, let's say.
So then, what happened with the Lightweavers during the Recreance? Did they break their Oaths?
They did break their Oaths. I mean, breaking your Oaths as in "walking away from the first Oath" will still do it, regardless of what Order you are. You can actively say, "I am breaking my Oaths and walking away." Anyone has that option. But you also are holding the life of a spren in your hand.
Other Shards, other than Odium and Cultivation, can take physical form, right?
Yes.
Are there any Shards that can't?
No.
Could Ruin have taken physical form in The Well of Ascension?
So, yes. What it really counts to be physical, for someone like a Shard, is subject to debate, but he could have done some of the things that others have done. There were certain restrictions on both Ruin and Preservation, because of the deal that they had set up, that would not have made doing that very useful. But there is possibility he could have.
In Stormlight, with Kaladin and his brother Tien, is there a connection or a reason why, whenever his brother finds a rock, that keeps coming up several times?
Yes. So, there's a couple themes going on here. One is just the subtle theme that Tien tends to find beauty in things that Kaladin finds dull. That's, of course, kind of the metaphor. But Tien also was a budding Lightweaver, and he saw color and light a little bit differently than other people did. And he has the same general effect that you'll see Shallan having on people, which is how the Lightweaver views you influences a little bit more how your mood is, and things like that... And there is a magical element to that, as well. There's both a metaphoric reason and an in-world reason.
In The Rithmatist, in the Inception chamber, there's that chalk creature. Does that have anything to do with how they gain Rithmatic powers?
It has everything to do with how they gain Rithmatic powers.
Really, the third [White Sand graphic novel] is where we've done the most work, because authors-- this happens to a lot of us. Early work, we're good at doing scenes, and we're bad at endings, we're bad at bringing them together. And that's one of the things that I got better at over the years. And the ending of this one had some good things, but it had some really off-kilter things that we're fixing.
Are they gonna go to [Darkside]?
Don't have the plans yet, because I never wrote that book. But I do still have the outline, so it's possible that I'll go and I'll get with Rik [Hoskin]. (Who I really like; Rik has been great to work with. One of the best experiences I've had in collaborating has been working with Rik.) I can see myself saying, "Here are our story beats. I'm doing some dialogue, you're translating." We can maybe do something. But I can't promise.
The other thing is, we have that old Mistborn script, from the video game, that I could also turn into a graphic novel.
I liked Snapshot quite a bit. Is there any chance you're gonna do more with that world in the future? Crossing over with Legion, or anything?
It's possible. They're kind of in the same cycle of me exploring reality and [plots], slightly futuristic. Snapshot, right now, is the best shot that we have as a movie. The screenplay came in, and it's great. It is better than the story is, which is fantastic. It's what you want to have happen with a screenplay, you want to have a collaboration, and someone take and integrate and do a better job. It's the first time I've gotten a screenplay back that has been better than the original... So, we have a really good shot, I think, at that one. The screenwriter knocked it out of the park.
You have a good amount of accountants in your books.
My mother is an accountant. So accounting is one of my go-to references to my Mom. She's an accountant for the city of Idaho Falls. So that is why so many accountants pop up in my books.
Is that where [Lightsong], is that a direct, for her?
Yep. [Lightsong] is also based on a friend of mine who is a computer programmer, and you don't have computer programmers in fantasy worlds. So I'm like, "Well, what's the closest thing to that?"
How do you deal with hecklers? Do you ignore them, do you take their advice?
So, it depends. Hecklers, I ignore. Criticism, I don't. I am lucky in that I have a team, and I, these days, have my team watch. Like, "You read the one-star reviews. Tell me if there are things popping up that I need to pay attention to," and things like that. Reading one-star reviews is generally a bad experience, but reading three-star reviews is usually a really handy experience for you to do. That's what you're looking for, those three-stars, the people that could have loved the book-- and if you give it three stars, you liked it, but there were things that bugged you. And if you start seeing themes like that pop up, try to address them.
But also understand that art is about taste. Every type of art. And you are going to write things that are the right piece of art, but that somebody doesn't like. Just like some people don't like my favorite food. Some people hate it. I like mac and cheese, other people hate it. I have a friend who hates ice cream. I'm like, "What? Who hates ice cream?" But he hates ice cream. It's okay. So, learn to separate taste from things that are actually skill level problems. And as you're a new writer, in particular, focusing on craft, just practicing, is more important than the feedback, often, on your first few books. 'Cause you'll know. You'll figure it out. Your first couple books, you'll be like, "They don't have to tell me; I know what parts are not working." But you can't get better at that until you write them.
How long did it take you to figure out how to kill your characters without really ticking off your readers?
Well. I think it still does tick them off. But my thing is, if I make sure that somebody has a satisfying resolution, even if they don't get to see it, usually people are satisfied then. So, if what the character wanted finds satisfying resolution eventually, that is where I go.
How do you decide what book you're gonna work on each day? Do you have, like, a schedule or something?
Good question. So, I can generally only be writing new prose on one book at a time. And so, I usually make the decision when I finish a book. I usually need something very different, once I finish a book, to try, to have a break from that world, rather than going right into it. So often, I have a lot of different projects floating, and I decide when I finish a book. A little bit of it is making sure, trying to keep myself from doing too many new things, when I still have things hanging. And that has been a constant struggle in my life. I taught myself how to write novellas, so that I could do some of these ideas-- Those are in Arcanum Unbounded. And most of those exist because I had ideas, and I'm like, "No no no. Don't start another series. Don't write another 300,000-word epic fantasy book that people are going to be asking for sequels to. Tell the actual story that you're excited about, but do it in 30,000 words, and then you can be done with it." And that's where Emperor's Soul came from, and that's where things like Edgedancer came from. Not having to balloon into their own huge series.
So, I decide. And once I get into the book, I need to keep momentum on it. I can't stop. If I stop, that's really bad for a book. You can see this with Rithmatist. Rithmatist was the series I was working on when The Wheel of Time came along. It was the one I was actively writing and working on the sequel to. And when Wheel of Time hit me like a freight train-- I actually wrote the first one in 2007, and it's been really hard to get back into that, because of that big interruption.
I was told that in the end of... Alcatraz versus the [Dark Talent], it says that you would be writing another book from Bastille's point of view.
Yes, I am. So, if you are not familiar with this series, I did this weird thing with this series. Alcatraz books are kind of making fun of epic fantasy series. Part of the joke is that they're making fun of them. So when I pitched it to my editor, I said, "I want to tell everybody there's five books. But then end on a massive cliffhanger, and then have the main character refuse to write the last book. And then have a different character in the series write the last book." And the reason I did this is because the character, Alcatraz, had been promising that the books would end on a downer note. And I both wanted to have a downer note and not. I wanted to have my cake and eat it too. So Bastille insisting she will write the last book has worked. I've got about half of it done. I have been having some friends read it and help me with it, because I want the voice to feel different, and I want the voice to feel right. So it's been a little tricky to make sure it doesn't just sound like Alcatraz, that it sounds like somebody new. But it will happen, and it's making progress.
Let's just say that Alcatraz's view on events is not very trustworthy, considering that's, like, the main theme of the books. So I'll let you know that.
Do you have any idea when it might be coming out?
I don't know for sure.
Would [Walter and Osmin's Detention Enterprises] be referred to as WODE?
You could totally do that if you wanted to.
Did you know from the beginning how you were planning to end [Alcatraz]? Because the whole time, I was going, "He'd better fulfill all of these promises."
I was. I'll tell you this, when I pitched that to the editor, they did not like it at all. They didn't like the idea of me ending on such a downer note. But I knew that the right way to do it was to have him give up on the series after that dark moment. A lot of the Alcatraz stuff I discovery wrote, but that ending I had from the beginning.
How much time do you spend writing new material versus rewrites?
Rewrites are about half of my time I'd say. Between a third and a half. So I can usually budget the same amount of time that it took to write a book to do the revisions, and each given one is a bit faster. I write at about 2,000 words a day and I revise at about 10,000 words a day, but it goes slower when I have to do new chapters. Like, I'll do 10,000 words one day, and then 2,000 the next when I have to do new stuff.
I saw a quote that said that there were two people who knew how to awaken metal. Is that still true?
Read and find out.
Where did you get the idea for the Alcatraz series?
I thought of Alcatraz first, someone named after a prison, and I'm like, "Why would you be named after a prison?" And it kind of just went from there.
So, are all birds in the cosmere referred to as chickens?
No. All birds on Roshar are referred to as chickens... What's going on here is a linguistic phenomenon, where they had lots of bird types on the planet they emigrated from. But over time the word for "bird" became genericized, chicken became genericized to mean bird. That's happened to a couple things on Roshar. Wine got genericized. They don't even really have wine; they don't have grapes, but they use it genericized to mean something different.
Adonalsium, did he have his own world before?
Yes, that world is the book Dragonsteel, which will be written as Hoid's backstory. That's a ways off, but it will still come. Chronologically it's first, but I'm going to write it right before I write the last Mistborn series, which is Mistborn Era 4.
I so badly would want to know if Hoid knows he's a character in a book... or at the very least if he would accept it as a possibility...
Hoid does not know he's a character in a book. The cosmere doesn't break the fourth wall. (Sorry.)
If all the practitioners of the Dor but one just died, for whatever reason, would that remaining practitioner have access to more power?
No. Good question. There is magic systems that work that way but it is not the Dor-based magics. I've got an unpublished book that works exactly that way called Mythwalker. The magic system of that was called the Septs, and your family divided the power of the magic, but it was not a one-to-one ratio. If you had a total power, if one person had it was at a 1, but if two people have it each of them were at like a .8, and so suddenly it became this thing of, how many people in your family do you want to have power and things like that. It was really interesting. But the rest of the book was terrible.
Is there any chance that we can see more of your personal Stormlight art? Just like that Chasmfiend piece =)
Maybe? I'd like to do more, but I like to do lots of stuff and I keep busy.
Second sentance of the above paragraph. The plural of 'axis' is 'axes', not 'axi'.
For the record, I don't think the "axi" thing is a grammatical error. It's more just a unique cosmere term.
This is a Cosmere term. Stormlightning is correct.
None of the Alethi names seem to have a "ch" sound in them - except for Chana / Chanarach, the Herald. Do they have a sound and written symbol for it? And if not, would they use a different sound when saying or writing Chana's name ("sh" maybe?)?
I could be wrong, but I think there is a symbol for "ch" in Alethi women's script.
In English, "N" is articulated the same way "T" and "D" are - on the alveolar ridge (as all three are nasal alveolar). It seems like in the women's script "N" belongs to a different family from "T" and "D". The former is a "left facing arrow" while the latter two are "right facing arrows", to use some very basic description of the symbol shapes. Why is that?
Peter might have a better explanation for this, but because of the three sizes, we had to group things in ways that didn't always make sense. The N was a fourth letter in a set (TDL), so looking back, maybe we should've grouped N with TD instead of the L, but then that has a cascading effect, so this was the best we could do in the time we had. But we don't know exactly how the Alethi speak. There's always a chance that the Alethi Z sounds more like "dz," and the Alethi "S" sounds more like "ts" (like the German Z), in which case the SZN grouping makes a lot more sense. But that's just conjecture.
The symbol sets are all based on historical place of articulation (and articulating tongue part), and there have been some sound changes over the centuries so they don't currently all line up exactly. The t/d/r/th/l group (historically alveolar) is articulated with the tip of the tongue, and the s/z/n/sh/h group (historically postalveolar) is/was articulated with the blade of the tongue.
The modern h sound (like h in English) used to appear only in the palindromic locations, and was written only with the diacritic. This diacritic is mirrored on the top and bottom of the character. Some writers may use only the top or bottom because lazy. Also, sometimes the diacritic can be left out entirely and people just know to pronounce it as h because it's a very common word or name.
The h character used to stand for a weakly-voiced postalveolar non-sibilant fricative. This later shifted backward to a velar fricative (first weakly-voiced, later voiceless) as in Kholin. In modern times the h character is usually for the same h sound that we have in English. Sometimes kh is written using a combination of the k and h characters, and sometimes it's written just as h for historical reasons. Different regional dialects also shift the pronunciation one way or another.
The L sound has also shifted. It used to be a voiced alveolar lateral fricative, and this is still seen in names like Lhan. It's now a regular L sound.
The final group, k/g/y/ch/j, used to have dual articulation, similar to velarized postalveolar. Now the articulation has separated, with some velar and some postalveolar.
Currently y and j are pronounced the same or differently based on class and regional dialect. So, a darkeyes name like Jost or Jest will be pronounced with a regular j sound, while with the upper class it has merged with y so that Jasnah and Jezerezeh are pronounced with a y sound. Historically they were always separate sounds.
That Reddit thread established that the "H" sound is produced by writing another letter, and then marking it to denote that it should be pronounced as /h/ (while still looking like the other letter, for symmetric purposes). And on that note, the name of that traditional Vorin dress is "havah" - how would that get written? Is there a dedicated symbol for /h/ when it's not a "symmetric placeholder", or would the women just pick any letter and mark both instances here? Or something else altogether?
I believe they would just use the dedicated symbol for /h/.
