Definitely start with the thread that @bobRaskoph posted.
In there, Melanie (co-creator) is quoted on two ways to approach IF with dramatica:
The storyform is fixed while player is a non-MC observer, able to witness and discover events out of order but ultimately separate from the main story itself.
The storyform bends, reshapes, and resets as the player's choices shift the narrative context.
This second option is the most appealing to me, and I imagine the most appealing to the gaming population. They want to have an effect on the world and the story, and they can't do that if they aren't participants. Melanie quote:
Of course, the problem here is that not only do you need to become adept at just one storyform, you need to figure out how to shift from one to another, all while saving time and development on assets and game creation. This is relatively unexplored, or at least unanalyzed, territory. It's uncharted waters, but I think Dramatica is still the best tool to puzzle it all out. Prepare for a long fall down the rabbit hole!
My two cents:
As I've expressed earlier, I think IF becomes problematic when the player is both observer and participant. Observing goes well with item 1, participation with item 2, and I don't think developers should mix the two. When players want to participate, I think they subconsciously want both the advantages and disadvantages of a single, fixed perspective. Look at the success of Knights of the Old Republic: that twist bowled over players because mentally they were locked into the Main Character Throughline and unable to see beyond it at first. It's similar to the film Chinatown where Jake the MC is trying to pry open a world that doesn't want sunlight. Only towards the end is the shocking truth of the Overall Story revealed.
The recent success of Dark Souls and Zelda: Breath of the Wild shows that players want worlds that don't cater to their whims - they have to assert themselves, they have to challenge the world's rules to discover solutions, just like a Main Character facing resistance in the world of a storyform.