I'm pretty much exclusively a novelist (though I was hired to write a video game script recently and have – on occasion and mostly under duress – written short screenplays.) I'll do my best to answer your questions regarding Dramatica for novelists:
There's actually a lot to unpack here. First, those "cookie-cutter" models can and often do apply to novels. Take a look at the vast majority of books on outlining novels and you'll find some variant of the hero's journey and/or three-act structure (not sure why people call it three acts – it's almost always actually four if you look at the fine print.) To be honest, I think Save The Cat does a better job than most of these simply because it's unabashedly geared towards giving the audience the emotional beats that are often satisfying. What they give you is a high-level structure. What they don't give you is any semblance of theme, motifs, or the other ways of looking at a narrative that inspire you to put depth into your work.
What Dramatica does for me is force me to find both separation and unity of throughlines. Separation in that it demands four separate and distinct throughlines. So what the main character is going through has to be different from what the overall story ("everyone") is dealing with which has to be different from what the influence character is going through which is again different from the relationship between the influence character and the main character. Finding that separation is sometimes very difficult, but it's always proven worth it to me. Then Dramatica pushes for a unity between those throughlines – that each one isn't simply another storyline but a perspective on something deeper – something hard to even put into words but which you can fully experience by reading the entire book.
Dramatica will let you keep going down deeper and deeper until you reach the limit of your own understanding of the model (which I tend to reach pretty quickly and then scurry back up the levels before calling @jhull and simultaneously denouncing the model while begging for help with it.
I haven't found that Dramatica requires any translation to work with novels. In some ways I think it applies more naturally to novels because screenplays don't give you as much space to explore all the levels and layers that Dramatica offers. Here's the thing, though: it's frustrating as hell. Sometimes this frustration comes from the language of Dramatica (which is a huge problem for novelists as we're experts and using individual words to denote a variety of different concepts), and sometimes from the fact that it reveals weaknesses in your story.
One thing to watch out for is approaching Dramatica as a steady-handed guide who will lead you step-by-step through all the hard parts of writing a novel. It won't (or at least, it doesn't for me). Dramatica is a confusing cowboy philosopher who whispers the weirdest damned nonsense in your ear and its only after you've thrown your hands up in the air, convinced you've been listening to a demented drunkard, and say, "to hell with it, I'm just going to write whatever comes to mind" that you then realize you've followed the advice and found something meaningful to say in your story.
My experience is that most novelists who can write decent prose can get to 80% of a great book just by applying their craft. Every percent after that comes at the cost of your sanity or your soul (or sometimes you get real lucky.) All I can tell you is that as someone who makes a good living from writing novels, fighting for those extra few percentage points of quality and inspiration is the real job. I've found Dramatica to be a good way to push myself to find them.