Somewhat confusing that 11b and 11c are identical, only rotated differently. Both time and level offsets are happening in both cases.
I haven't done this much, but have used arrangements like 11c a few times to push the mic pointed toward the more distant-side farther forward, in an attempt to pull the image toward that direction by leveraging the offset in time-of-arrival. Doing it that way is easier for me to visualize and figure it out in the moment. Its essentially doing the same thing as the simpler method of rotating the entire stand to face toward the apparent acoustic center, but adds the additional change in individual mic angles.
Pushing the distant-side mic farther forward works regardless of pattern since its a time-of-arrival based thing rather than a pattern/level based thing. Making an additional level correction afterward is easy to play around with, but trying to arrange for such a level difference via microphone pattern and angle is tougher to wrangle, because any angle between the two mics tends to works against getting increased level from the opposite, more-distant side along with decreased level from the closer/louder side. Because of that, I've tended to arrange the mics more parallel to each other than I would from a more centered recording position - more A-B like, with both pointed toward the PA on the opposite side, using additional space between them to compensate for the reduction in angle and to increase the useful time-of-arrival shift. That uses pickup pattern directivity to increase sensitivity to the far side PA and reduce sensitivity to the closer/louder nearside PA across both channels, without changing the overall energy balance like making a level adjustment afterward will do, and assists the time-of-arrival offset in shifting the image toward the far side, rather than working against it.