If you want to emphasize grain, you can use your D-76 to good effect there, ...if you look at your developing chart that came with your film, just go one step warmer with your developer for starters: in general, this will emphasize the grain and usually incidentally bump contrast. (Not, generally, in ways I find pleasant)
A lot of things you might do will raise the grain, along with them different secondary effects. I've never been someone who was bothered by grain, but if you like the look, it's usually about the peculiar quality of a given film-developer combination, rather than the quantity. (Good old Plus-X is pretty grainy for its speed, compared to more modern films, but it's such *nice-looking* grain, you neither need it to be really obvious nor worry about reducing the visual effect of it, in my book) You can push and the grain will be quite conspicuous, too, along with getting you a speed boost if you want to play in lower light. Which for me, I'd almost always rather do than increase temperature. (Frankly, haste was the only reason I'd usually not wait for 20 degrees C, once upon a time, I'd notice the effects, but these days, there's no haste in getting B&W out when someone could be emailing it off a card.
)
Doing negs is very like cooking... A lot easier to do competently than most people think, but you could occupy yourself with the subtleties for *lifetimes* if you so wished.
Mostly, I advise starting off with good film handling habits, to avoid any tragic mistakes.
For instance, I like to leave empty film cans (or spools/ a scrap of backing paper in the case of 120) in the funnel of a loaded tank, and never lock an empty tank closed: not only do I know exactly what's in there if there's a delay, (particularly cause I tend to write on my film cassettes with a Sharpie, for various reasons ) I know it's empty when it's empty, etc, etc.
And, to avoid doing that closet drill, a dark bag is a nice thing to have.