It's actually a deeper question than it might first appear. When you're given a book contract in genre fiction it's generally for a series of books; in my case either four (Greatcoats) or six (Spellslinger). As part of that process you're asked to sketch out what each book in the series will look like: what the major characters and story events will be, what the series-long arcs are . . . etc. So all of that aligns with the idea of planning it out using a series storyform as Jim has designed.
Once it's time to work on that book, however, pretty much everything has to go out the window except one question: how do I make this the best book I've ever written? It sounds grandiose, but approaching it with anything less and you risk writing a novel that only exists to service the novels on either side of it, allowing "big picture" concerns to get in the way of finding the most dramatic story to tell in the best way possible. I often use the phrase "leave it all out on the field", in this case meaning, don't save anything for book 2 or 3 or 4 – give it all to this book and then face the problems you've created for the next book when it's time to write it. That can be exceedingly stressful when you get to that book, but that's the price you pay for being a novelist.
Note here that I'm not talking about the phenomenon we sometimes see in blockbuster movies where they'll feel like they have to throw every possible explosion and fight scene into the movie. I mean in terms of drama – of the stuff David Mamet talks about when he starts swearing at people via inter-office memoranda.
So where Dramatica fits into the equation for me is actually to go back to the previous books in the series, try to identify the storyform of the book I wrote (as opposed to the one I planned to write) and then see if I can make the storyform for the next book look sufficiently different that I don't risk writing the same story twice. So if the OS concern in book 1 was obtaining, I try to see if I can aim for an OS concern of either Gathering Information, Doing, or Understanding in the next one. That can be tricky, because once you have the genre, characters, world, and relationships all defined in a series, that tends to create a drive towards a sameness in the approach, and there's a risk that changing it all around will make it "feel" off for the reader.
So, long story short, I try to follow Jim's process up to a point, then force myself to do whatever is needed to make the book feel like it could be the best one I've written, and then as I'm doing the final draft, look back over the series plan and ask if there are things I should change or address to set up the next book without compromising this one.
Not sure how helpful that is, but that's how I approach it.