I don't want to speculate what is common or typical and what is not.
But what comes to the part of the question, is it any different in a minor key? I think the dominant and its tritone substitutions work just the same. It doesn't matter if it's a minor or major key - or at least that's how I like to play.
Then the question, "which alterations to the dominant vs the tritone substitute"... The alterations you do to the V chord affect what its tritone substitute becomes - assuming that you do the substitution by only moving the bass. However, there is a symmetric "equilibrium" where all notes except the bass stay the same. If you use such a symmetric chord quality for the V chord, then its tritone substitute will have the exact same chord quality. For example Bdim7/G: if you move the bass to Db, then the /Db chord has the same chord quality, because dim7 chords are have a symmetrical repeating pattern. If you move a note by any multiple of 3 semitones to either direction, it will have notes of the dim7 chord in the same relative positions.
If I understand correctly, how Barry Harris looks at things is, the "truest" jazz dominant is such that you can switch to its tritone substitute with all the same notes sounding. And so, you get the half-whole diminished scale starting from the V note. Or any of its alias names. (And which Barry Harris says must not be called "half-whole" because ... I forgot why)
The third part of the question - "should I be worried if I think it sounds good, but if it isn't common or typical" ... No? :) You're supposed to explore the sounds and use what you like.
Somewhat related to the question, if someone is interested in rootless chords, dominants and tritone substitutions, and what it sounds like, here's some rootless blues in C.
Try playing bass on that. Switch the bass between e.g. G and Db at will!