If you could draw out the connection points, you’d understand. I may try to post the entire process eventually, but not right now. The result however is right here.
a1A2a3a4A5A6, a6a1a5a2a4b3, b3b6a4a1a2a5, a5b3a2b6a1a4, a4b5a1b3b6a2, a2a4b6b5b3a1
a1A2B3a4b5b6, b6a1b5a2a4b3, b3b6a4a1b2b5, b5b3b2b6a1a4, a4b5b1b3b6b2, b2b4b6b5b3B1
b1b2B3B4b5b6, b6b1b5b2b4a3, a3a6b4b1b2b5. b5a3b2a6b1b4, b4a5b1a3a6b2, b2b4A6a5a3b1
B1b2a3B4A5a6, a6b1a5b2b4a3, a3a6b4b1a2a5, a5a3a2a6b1b4, b4a5a1a3a6a2, a2a4a6a5a3a1
That’s 4 sestinas and a single final tercet. There is a definite method to the letters and numbers, too. ‘a’ means from series a, ‘b’ means from series b. The capital letters within the stanzas (not the tercet) represent a copied line. It’s not just a similar word, which it already is the same word, but the entire line is the same. All 12 words are used to make the final tercet.
I will write an example of this in the near future to show you what I mean.
Here is my first Celtic Sestina. Please read and enjoy, or at least read and ponder.