Hello, I'm new here too. I'm planning out my own comic as well and I got several tips.
- First of all, you could try use a technique South Park creators Trey and Matt came up with. It's known as the 'and then' or 'therefore/but' technique. So you line up the events of your plot line, and in between these events you either put in 'and then' or 'therefore/but' in accordance to how these events link with each other. If it's a 'and then', you should change it, because that shows that the following event has no correspondence with the one before it. If it's a 'therefore', keep the event, because it shows that the latter event is triggered by the former.
For example...
[John went to the supermarket] AND THEN [he punched his friend]
The events do not correspond, so therefore the story is not logical and would just appear uninteresting, so I could change it to...
[John had a row with his friend] THEREFORE [he punched him]
You could use this technique to check for logical flaws in the story.
I got that info from this video- it's from Wisecrack but the actual information is derived from an embedded interview in that video.
You should 'kill your darlings'. I know this is repeated over and over again by many people, but it really really helps. In case you don't know, this phrase means to eliminate a certain scene/set of dialogue/some creative decision due to it having flaws related to the narrative. When I was laying out the story for my comic, I killed my 'darlings' several times in the process. It was a bit hard at first, but it was worth it because I end up with something that I think is much better, and I'm sure that you could too.
Try your best to make your character learn and grow from the experiences they encounter with during a narrative. For example, you could write about a character making a mistake, and then later in the story introducing the factors/events leading up to the mistake for the same character, but the character does not make it again because of their growth.
Include a backstory for characters, but be careful about its presentation. Make sure that the backstory is not a set of discrete facts and events, but it ties with the character's motives, actions, and personality, as well as the plot line. We probably saw those 'Mary Sue' OC's where in the backstory section, the illustrator just added in a blank 'his/her parents died when he/she was young' statement. So if the character's parents died, what are the implications on the story and character? Maybe you could write about how the character passes through a patch of daisies on her way to school, and those daisies reminds her about the flowers in her parent's funeral? That could be a lot more effective than just saying 'his/her parents died'. Don't be afraid to use cliche backstories- as long as they are implement them well, the audience won't really notice.
If you don't really have an emotionally deep backstory, that is completely ok! Don't force one in, it will never look good. In fact, you could replace it with childhood/adolescent memories. Maybe you could write about how a character's mother showed up in a school play despite having a flu, that could emphasise the mother's love. Small events like this could be just as, or even more powerful than extremely deep or traumatising backstories.
On a final note, never give into any of the rough patches of the narrative process. Sometimes, you just feel like you wanna give up because you couldn't work out a thing or two, and you might think that your entire project sucks because of that, and it makes you want to quit. Well, remember that these tough parts are just a 'test' to see if you really earn the new idea/ solution you get later on. You just got to lay out all the issues, and innovate to come up with solutions. There will be frustrating parts of writing the story, but you will eventually get through it if you stay determined, and work the problem out.