Deviations from Common Writing Style
I like to take a few liberties when it comes to writing. I find "official" styles to be too restrictive, and so I twist them to my liking, not unlike a balloon animal at a carnival. It's still a coherent balloon, but much more entertaining. It is a carnival, after all.
Examples
Emdashes are delightful little things, and I use them frequently. Sometimes they lead into a definition, or mark where a character is cut off in their dialogue. Sometimes a narrative needs to be broken by a bit of dialogue flanked by emdashes; other times a line of dialogue is broken to insert a bit of narrative. I find that this helps narrative and dialogue flow more realistically.
Ex.: Runge slipped on a banana peel — "Whoop!" — and faceplanted on a landmine.
Ex.: "You should have eaten something earlier, but" — Ramy tossed a fried napkin to Runge — "this should do in the meantime."
I avoid needless commas that otherwise add awkward pauses. A character speaking quickly while listing a series of objects might speak in a run-on sentence. They're in the fast lane, so they're not pausing. Similarly, a series of adjectives preceding a noun might have the commas omitted.
I capitalize the names of sapient species, regardless if they are demonyms or not. This includes "Human," but not a descriptor like "humanoid." A capitalized sapient species name, in my opinion, distinguishes it from animal species.
My favored POV is third-person omniscient, but with a bit more detail and personalization as with third-person specific. I go into the heads of each character, and the transition from one head to another is marked by context within the narrative rather than an unwieldly scene break.
I don't italicize foreign words, except for the first mention of the word within the narrative. Regarding dialogue, italicization makes the word seem emphasized and interrupts the intended flow. The names of ships, however, are italicized, as I find that their context and capitalization add proper justification for it.
Ex.: "This beskedar pie you made is delicious. I can see why you're fat."
Ex.: "The Salona will probably explode if you keep ramming it into buildings."
As for actual dialogue emphasis, I use italics to mark basic emphasis. Italics followed by an exclamation is a bit more intense and fits well with anger or sarcasm. For an enthusiastic remark, a simple exclamation works. For a raised voice that isn't quite to the point of yelling, a character will speak with the relevant words fully capitalized and followed by a period. Actual yelling is fully capitalized followed by an exclamation.
Ex.: "Oh goody, Runge burned yet another bridge with a careless 'yo momma' joke."
Ex.: "Remember that guy who tripped on a banana peel and fell on a landmine? That was hilarious!"
Ex.: "And I would've gotten away with it if it hadn't been for you meddling bounty hunters!"
Ex.: "Look at me, my name is RAMY AND I LIKE TO BE CONDESCENDING."
Ex.: "I WILL BEAT YOU TO DEATH WITH YOUR OWN SHOES!"
Profanity is present, but it's censored with [expletive] tags (with exceptions such as "ass" and "piss," as I don't consider those profane). A world as gritty and immoral as Riesel would be strange without profanity, but I am aware that many people don't enjoy seeing it, and I would rather avoid raising the maturity rating beyond where it already is. I experimented with using alien words for profanity, but that just looked silly. I found that having the profanity being implied purely by the narrative was too limiting for the dialogue, so I made a concession by adding [expletive] tags to the dialogue. That way, a character can "say" all kinds of questionable things and not raise the rating! It's word magic! A little odd to look at, but my point stands.