Hello Ra. Welcome to the boards!
I don't think I qualify as a Dramatica Expert, but I thought I might be able to help.
First, Dramatica is a model of the human mind. As a human being you already "do Dramatica". Dramatica is a tool that can help ease the process your brain is already engaged in when you're creating. There's a ton of ways to approach Dramatica, and I don't think any of them are wrong. So, don't worry!
I'm not entirely sure if it matters how the causality plays out, but I think it's usually that the Overall Story problem is preventing the goal and switching to the Overall Story solution allows the goal to be achieved.
I would recommend not worrying about prerequisites, preconditions, requirements, costs, dividends, etc. If you're writing for television, you probably don't have the time to really explore them anyway. The Goal and Consequence the are two important ones.
I find that it's usually best to let Dramatica pick the signposts for you.
Setting the dynamics, choosing the domains, and picking the problems are the biggest things to get right.
Right, but keep in mind that the IC doesn't have to be actively showing them.
Correct. The steadfast MC problem is more like a source of drive that they grow further into.
The symptom and response in all throughlines is what's the most evident in the story. So, each throughline sees the focus as the problem and treats it with the response. It kind of bounces back and forth between the two. Like ping-pong or tennis.
The IC signposts are the big "beats" of their influence on the MC.
I think everyone struggles here. I still struggle here. The best advice I have is to focus on the relationship and not the people. Think about what is strengthening the relationship and what is pushing it apart. People will be more than happy to help if you have questions.
Hope that helps!