I've shot paper negs in my 4x5 Speed Graphic, but it's the same idea. I've learned a few things from working for years with paper negatives in pinhole cameras. A common problem with paper negatives is excess contrast, especially when using multigrade paper. The blue/UV sensitive part of MG emulsion is high contrast; daylight exposures will activate this, giving excess contrast. So, I use grade 2 RC paper (RC because it's easier to contact print, minus the paper curl.)
I've also learned to do a preflash on the paper, prior to loading into the film holders. This has the effect of further reducing excess contrast by improving shadow detail. The amount of preflash I've calibrated to give a slight gray to the otherwise unexposed paper. I originally tried my enlarger, with lens stopped down to F/32, but the exposure times were still too short (1-2 seconds) to give an accurately timed preflash. So I use a type "S-11" light bulb (120vac, 7.5 watts, frosted white, standard base) mounted in a metal soup can housing, with a ~1/4" hole in the bottom for the light to shine through. Mounted ~30" above my work surface, typical preflash times are 10 seconds.
I use Arista's grade 2 RC paper (from Freestyle), rating it at ISO 2, with a preflash.
In general, to reduce contrast (other than not using MG paper) you want to expose more and develop less -- this is true with film and paper. Rating Arista RC-2 at ISO 2, and preflashing, has the effect of increasing exposure. To reduce development I use a developer more dilute than normal, with a portion of old, exhausted developer added as a 'starter'. Instead of reducing development by using a normal strength developer and pulling it out short (which can cause uneven development marks) I dilute the developer more and extend the time longer, inspecting the negative and pulling it out when the shadow details are adequate without the highlights blocking up. BTW I use Agfa's Neutol WA liquid developer because it has outstanding keeping properties.
Contact prints from good paper negatives can look very nice. The tonal range of the image is '19th century' orthochromatic or actinic tonal range -- meaning warmtoned objects will be rendered darker in tone than with panchro film. Like skin tones. For portraits, you may want to direct more light on the subject's face, to increase exposure, or consider powder makeup.
For previsualizing the tonal effect of paper negatives consider using a dark blue filter as a viewing filter. Graded paper sees the world principally through the blue spectrum.
~Joe
P.S.: Another advantage of paper negatives to consider: you can select your negative contrast by paper grade, rather than zone system gyrations; and you can handle them under safelights, so processing is more convenient.