Good news, bad news.
The good news is there is such a list. The bad news is it's called the Library of Congress.
Seriously, I don't know of any such list. If I did I'd have a copy glued to my wall by the terminal, instead of doing this by trial and error (writing is a trial; most of mine is an error).
I'm not even sure you could get instructors or authors to agree on what makes up a basic set. They certainly can't agree on what a novel is. And I'm certainly not competent to draw up such a list. My 'technique' consists mostly of writing by ear; I get an idea for how a piece should sound and then I write and then I edit, edit, edit. Why not instead make your own (short) list of things that would be useful to you
right now and develop those two, three or four? If it reads well and communicates what you need the reader to know, will anyone but an academic kvetch that you allowed a little show in your tell or vice versa?
In the main what I recommend is to read everything: Manly Wade Wellman, Asimov, Henry James, W & A Durant, Hemingway, Stan Lee, H Beam Piper, Stephen Ambrose, Ogden Nash, PD James, O Henry, Samuel Eliot Morison, newspapers, manga, billboards, boxes of cereal... if you are what you eat, you write what you read, I think, so it helps to read a lot. And eat while you read.
Does it help to suggest taking a small scene and writing it from multiple points of view, in first, second and third person and in active and passive voice where appropriate? (A
very small scene.
) I think as an exercise it would be instructional though perhaps not fun. I suggested something of the sort to coz1 for a 'Guess the Author' subject but wasn't able to describe it very well. Or take a subject and write it as a newspaper clipping, a chruch bulletin, an advertisement and an O Henry story (put your own list here).
Or perhaps write a short (one paragraph) note on what you want the piece to accomplish, and staple it to your eyelids
Well, no, not that. To the wall by your monitor, perhaps.
I believe - and this is rank heresy, nowadays - I believe prose should be functional, should exist for the function of communicating something from the writer to the reader, and all of its component parts and their order should serve that function. If there is a tale to tell and characters to characterize it, then everything should be added if it has a function and subtracted if it has not. Unfortunately I'm not yet disciplined enough to completely live up to this, so extranea do creep in, but it is an ideal to which I aspire. Need to develop a ring of authenticity? Describe in detail. Need to maximize the pathos of a denoument? Develop the character. Love a character who has no real function? Cut.
In the same vein, artificially restricted form can be of great help. "Write a piece of music" is terrifying; "write a march" or "write a waltz" or "write a pop song with verse-verse-chorus-bridge-chorus" is less terifying because it limits possibilities. Think of Gainsborough deliberately painting in blue just because he was told it could not be effectively done.
On this, have you read Iain Pears' 'An Instance of the Fingerpost'? The novel (mystery-spy story) consists of roughly the same events in Restoration England (Oxford, mostly) told from four different points of view, with each successive story completely upending everything you thought you knew from the previous one. As a book it is thick chewing unless you love the period, but as writing it is a magic act worthy of Houdini.
In closing (*wild cheers are heard in the background*) I'd like to say I enjoyed your HoI graphic novel and found it very entertaining.