Ah! We're not so different then! 
I always thought plotters had to have a full story laid out. I had very little ideas planned other than my initial character ideas, but after writing up a few interactions between them the whole thing sort of blossomed into an idea. Seems like we do the same things, just my way is more hands on and narrow and yours is more broad.
Never even thought to work on chapters in batches. Maybe I should consider this. 
Yeah, see... my first outline was my first draft. 
But jokes aside, I do occasionally make a bulleted list of things I want to happen when I'm stuck. And once I had a draft, I rewrote and revised it with those key events in mind.
It's really great that you can outline before you begin writing. I envy this. 
Sometimes, even though the draft is fully written out and I know what happens next, I'll get writer's block with the smaller moments in between.
Depends on what you mean by full story, I guess! I think definition-wise, the main conflicts and resolutions and the how-does-that-happen-in-general should be laid out for plotters.
I agree! I'm definitely more plot-driven than character-driven. My plots drive my idea of what kind of character I want to have.
Working on chapters in batches is great! It doesn't tire you out and when you get further down the story, it also gets harder to outline the smaller details. By the time you reach the half-way point of the outlined batch, then you can perhaps start outlining the next batch. That way, you have a better idea of what's happened to be able to plan further ahead. 
Master Guide of Plotting. Expert.
It all starts with an idea and general concept. That leads me writing character sheets....to know how to shape my plot
My out lines comes in 2 phases after I write out the concept and characters.
First phase: I try to fit the plot into a 3 act structure and these three acts are sub divide into many tiny acts (Example act 3 has downfall, rise, final battle, end)
Phase 2: Is a chapter my chapter by chapter summary of what the hell happens. The longest phase. Once that's done. It becomes my bible to use for my plot.
Then I write in several drafts each one changing with my increase in skills. The one upload to tapas before I do my final edit is draft 3.
If I don't like something I usual change it immediately if I can. If not I just turn my head an move on.
When writing something, I need to have the whole story at least roughly planned out. The way I plan things out is really random, more of just dumping everything in my mind into text so I don't forget.
this series is amazing. its a free lesson in writing from one of the best writers in the business. and he talks about plotting A lot.
{To help you search things faster}
About the world
As a plotter, I don't think it's so much about talent as it is about having messages I want to get through to the reader, and that means working my way backwards. In a way, it's like solving an algebra problem. If I want A + B to equal 30, then I need to take a good look at A and B to figure out what numbers they need to be in advance.
The difficult part comes in when I'm trying to write the equation without it coming off as a deus ex machina, because if I give the solution at the start of the story - well, I've spoiled it, but if it's too much of a surprise - then people will think I blindsided them. That's why I have to leave hints everywhere from the beginning of the story to help the reader narrow it down but not get a full answer so that there's still a surprise here and there and in the end. What does A equal, my reader? Something between 5 and 15. What does C equal? Something between 25 and 35. Give them enough to get their imagination going. People like mysteries and plot twists in moderation, and those too need to be reverse engineered.
So for me, it's about having a conclusion in mind while aiming to keep the reader guessing by giving a few numbers (themes) which allow the reader to imagine what the answer might be.
I learned this in my film class and was told that it helps not to get stuck in any type of storytelling.
1- Write the premise line of your story.
A premise line is usually one or two sentences that explain your story as a whole. It is not a summary or a theme, it is the core of your story.
It is hard to explain so I recommend checking examples in film websites such as IMDb, a couple of sentences under the movie poster is the premise line.
2- Determine the CLOSAT
CLOSAT stands for Character, Location, Object, Situation, Action, and Theme.
Define your characters' names, personalities, occupations, likes and so. Define the location and its properties. The objects that are important in the story, like a special sword your main character uses, or a cup that everyone tries to win. Define the situation your characters are in and the action they take with the reasons. And decide on a theme.
We learned these in class not to lose track of the story.
I hope this helps you as well 
I'm half-plotter, half pantser. I tend to write random snippets of dialogue, scenes and such all out of order, whenever my imagination conjures them. I know that I want certain things to happen, so that gives me some direction. With Blue Star Rebellion, I know how it ends, and I have an idea of what each arc will involve. That gives me some direction.
Beyond that, sewing all those snippets is the part which feels more like pantsing. I'm not quite sure what that's going to look like until I'm working on it, and I'll go through multiple ideas until I hit on the right one.
My best friends when writing are bullet points on my iPhone's Notes, which I later put into Scrivner on my Mac. Having character files for all those random dialogue snippets is a lifesaver.
I wonder if characters will allow me to work in batches. The idea of scheduling breaks sounds lovely~ Very hard when you don't know what the story will look like beyond a week from now, haha.
Yes, the three act structure. I have heard of this magical item that you plotters use to cast your story spells. 
Can't say that I've personally had to utilize one. Seems like I just jump right into your third step.
I do something similar in terms of dumping things onto a page. The biggest sad is knowing that you had a good idea and then forgetting what it was. 
I kind of work backwards while plotting. I have my major plot points that I map out when in the story I want them to happen. From there I break down how do my characters get from one point to another. I then break those actions down into what I want from each chapter then start writing dialogue from there. After I'm done with the dialogue, I write the details of the scenes.
Timelines and Tables??? My non-plotter brain cannot compute 
I have a few character sheets and world notes somewhere, but those came long after I had begun writing. This seems so much more detailed and organized.
I will say though, my folder files for my drafts are labeled, color coded, and neatly stored on my drive. 
Keep your math our of my writing! (Jk, jk)
I like the point that you brought up though. I'm not sure that with my writing style that I could effectively write a mystery or thriller. That's in part because I don't really consider the full story when I initially write one out. Hard to leave clues if you haven't decided who the murderer is yet.
Wow! It's like you put how my brain works into words. I'm definitely less plotter than 
, but after I decided general plot points my process was exactly like this. Snippets of dialouge, random scenes. Sometimes I have a hard time writing in chronological order, which I think is why having multiple point of view characters really helps me. I stay with one character until their "story bit" is through and intersplice it with what's happening with another character.
I will also write dialogue and fill in the action bits in between! But as far as the story goes, my dialogue and character interactions usually drive the plot and not the other way around like you seem to do. This makes it very hard to stick with a plot outline. 
This basically summarizes my thoughts as well! I'm a plotter because I lack the skill and foresight, I guess, to generate convincing plot twists and revelations out of thin air. I've tried writing stories in a "pantsing" manner in the past, but it always just felt very bland because everything would just be event to event with not much in the way of surprises or interesting things happening xD
So in that way I also need to look at the equation holistically to work those things out ahead of time. Especially if it's a more complicated story with like B plots going on as well and like... yeah I just don't have it in me to do that on the fly 
For me, the way I plot is akin to how a cake artist would make a large specialty cake, like on Cakealikes.
I might start with bits of scenes or dialogue that I suddenly come up with, like how the baker might already have some simple sheet cake baked.
Then I build an overall outline, the support and structure to my whole story. It's like the support and metal/wood structure to a complicated cake.
Once I have the outline down with an idea of the story's beginning, middle, and ending, I then pad out this framework by writing in more scenes and dialogue, the actual story bits. This stage the bakers would be adding layers of more cake, rice cereal treat, ganache, modeling chocolate, so forth to fill in their structure and give the cake its actual form.
Then I will connect those scenes, pretty them up with edits, add more polish, and then hey! A finished story appears. Bakers will cover the cake in fondant, add in the details, touch up any areas, and then they have their finished cake!
