If we are not making the vii/ leading tone resolving to the tonic, then how can I make the transition of vii chord to iii without being too awkward with the voicing? Do composers make it natural minor form to reduce the effect of leading tone that tends to be resolved? E.g. In the key of Bm, the transition of A# (is the chord consisting notes of A#, C# and E?) to D maj ; what can be done in the transition to make it better and not too weird and sudden?
Side note: if A maj = A, C#, and E; then isn't A# major *(not sure whether it's a major, it doesn't sound 'major' at all if it's A#, C#, and E)= A#, D, and F? So what notes exactly make up the leading tone of Bm, and what is the interval quality?