1. Keep the scale differential reasonably small. A heavily angled bridge is a bad thing for playability too, not only because of the frets, but because it puts your picking hand proportionally closer to the end of the treble strings and middle of the bass strings, so the tone is less consistent.
2. Only the saddle has to be sharply angled. Inverse rotate the bridge around the saddle as much as possible. That is, don't make the saddle slot parallel to the front edge of the bridge, make it even more angled than the usual compensation. And tilt the bass wing upward and treble wing downward, if possible. Also can make the bass wing larger and treble wing smaller. Design a new bridge to look nice given the requirements, rather than trying to warp and stretch your normal bridge shape to fit.
3. Use a south quadrant bracing pattern that strongly supports the bass side of the bridge and links it to the X, even if the bridge isn't overlapping the X as much as usual. Double X, fan braces, whatever. Best if you notch into the X for maximum linkage.
4. Rotate the X, causing a little more space between the upper transverse brace and the bass side upper X leg than the treble side. Don't overdo it.
5. Make the body shape asymmetrical, so the rotated X covers it more evenly, and generally looks better with the angled bridge, not having a huge open area of soundboard on the lower treble side.
6. Give up and offset the X intersection toward the treble side
I prefer to keep it centered if possible, but I'm sure it would hold up just fine with a little offset.