That's cool, I'll see what the spreadsheets app on my computer can do. (I have a Mac.) Thank you for sharing! 
I'm really scatterbrained when it comes to plotting, but if you're looking for resources/software, maybe you can check out yWriter? I used it during Nanowrimo several years ago and it was nice to be able to break up scenes and whatnot into more manageable chunks that you can move around, plus it has little sections for characters, important items, notes, etc. It's more geared towards writing novels I think, but I think it also could maybe work for scripts and stuff!
Nowadays I personally just work with a lot of scrap paper and Google Docs, though. I do a bunch of rambling (and I mean rambling--I just write ideas without thinking too much about them to work without much of a filter, sometimes I come up with some pretty cool stuff!) before taking what I like, rambling some more, and then eventually organizing it into google docs to make something cohesive before I start outlining.
I think I am not an organized writer. 
(I'm suer disorganized, too. I was once chatting with a super-duper organized writer a while back and said my writing style is basically "Hey, wouldn't it be cool if..." )
I'll check out yWriter some times and see what I can come up with. Thanks for the advice. (Is that how you also plotted out your comic?)
Make the story adaptable as much as possible in case if there is something in the story you want to change midway or when readers are vocal about the story
Yeah, that's what i was planning. (Though some times my story's a bit too fluid it seems and I just can't decide on which plot line to go with because I keep on thinking up ones I like better.)
Oh, that's so relatable! A lot of things in my story were born from that line of thinking. "OK, Rue, but like... what if, what if!!" Then I try to tell myself no, then I fail to get the idea out of my head, then it ends up becoming canon. 
A bit, yes! My Nanowrimo was a much earlier draft for the plot of the comic, and I think it helped a lot at the time! I'll admit, though, that a lot of my plotting thereafter was also done rambling on scrap paper during lectures in college... I could probably find one of them if I looked! They're just sheets of paper crammed from corner to corner with tiny words.
About the fluidity of the story, though! I had that problem, too, and what I did was just try to find a general central plot that I'm really happy with that could always remain a constant, but then give that central plot enough flexibility to change things around when I think it would improve things.
So, I always have the main plot to fall back on and use for structure, but I still have the freedom to adjust things here and there. Might not make for the most tight-knit story where everything, everything is planned, but it might be more your style?
Yeah, i think I might give that style a shot and see how that works. Sounds like a good plan to me. (Though how in depth said main plot backbone should be, I don't know.)
It's entirely canon in my head that at some point Will helps Crow clean out his apartment/house and finds a ton of hair products in the shower and is questioning why he has so many. Wrote that bit years ago, but it's just so funny and silly, that I'm sure I can squeeze it in somewhere. The sandwich shooting t-shirt gun though will probably never be canon... Haaa.....
Is yWriter strictly an online thing???
Those are the best kinds of scenes... it's just a matter of finding a place for them in the story, but if there's a will*, there must be a way! (Pun not originally intended.) A sandwich shooting t-shirt gun just sounds like a great time.
I'm pretty sure it's a program that you just download it and can use it offline. It's totally free to use, so at least there's no investment if it doesn't work for you!
Hey, how detailed is your story backbone you mentioned? Because I often note that when I've tried to write a story backbone in the past, it's a bit too minimalist to provide me with anything substantial to go off of if that makes sense to you.
Until you accidentally shoot your boyfriend in the face ;3 That scene prob won't go in since it doesn't quite match the level of technology that's in the story so far.
Free to use is always top in my book! 
Speaking of, @aqua03, if you can't find a spreadsheets program, you can probably use OpenOffice. It's a free software that comes with the word programs, spreadsheets and so forth. Pretty sure they have a Mac download.
Hmm... It's fairly detailed enough to be a serviceable, albeit maybe not too interesting, plot on its own if I cut out all of the extra stuff, I think? If you wanted and you don't mind heavy, heavy, massive spoilers, I could PM or Discord you my overarching plot so you can get a general idea how detailed it is. I prefer Discord, but PMs are fine too if you don't use Discord.
@nostalgicroxas Shucks! Then it's time for making some AU extras!
I'd be fine with PMs if you don't mind. (I could never really get the hang of Discord, in all honesty.) Thanks for the help.
the hero's journey and three act structure are good guidelines - dont feel tied to the three act structure though, shape it to your will. dan harmon's story circle is a good adaptation of the hero's journey too.
if youve got the time for a big read, i recommend john truby's anatomy of story! it walks you through developing a story from concept to character to plotting to scene construction, and has a basic layout that looks like this:
1: weakness & need
2: desire
3: opponent
4: plan
5: battle (not necessarily literally)
6: self-revelation
7: new equilibrium
but he goes into way more detail and theres like, up to 21 steps i think? and he uses tonnes of case studies, mostly from cinema. i learned a lot from that book and really wanna reread it, but he does go on a bit
I’ve always been partial to Blake Snyder’s advice in Save the Cat even though I hate the way the book is written it’s still some of the best structuring advice I’ve ever read. It just says what’s happening so plainly without over-complicating it.
I do an outline of the story— beginning, middle, and end. Then I do my beat sheet which goes like this:
Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.
Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.
Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.
Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.
Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.
Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.
B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.
The Promise of the Premise – This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.
Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.
Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.
All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.
Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.
Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.
Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!
Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.
I don’t think anybody has to stick to this exact structure or anything but it’s an extremely good place to start if that’s something you’re struggling with.
My method is kinda funny. I haven't heard of anyone else using it. I start with my biggest events, then I pretend a YouTube theorist is picking at it for clues. That's how I get my fill-in and in-between material. So far, none of my buddies can really find any plot holes and my story is pretty much, "tied up in a bow". Has proper structure and all that jazz. Once I have all my story materials, I start taking notes by doodling. For me, doodling helps outline my story in visual form better than writing or charting it. I used a gigantic drawer set, and slipped my doodles into the drawers organized by category. You can do it by character, setting, or chronological order. Though most people put it into a huge binder rather than a cabinet. Mine started to break with the weight of the papers ^w^" Good luck and best wishes <33
The best thing I have ever used to plot out my stories is actually notecards. I come up with scenes that I want to happen in the story and I jot them on note cards. I can arrange the note cards in what order the scenes will happen. I can then fill in the in between scenes from there. It helps me to actually write it all out and actually see it before I start typing.
Did someone say plotting?
Here's a collection of most of the major plot formulas and a few other things you might find useful: http://robynpaterson.com/story-plottingformulas/2
I've changed lanes a lot over the last few decades.
If you're a novelist and you have the cash to do it, I think the absolute best thing you can do for your work is shell out for Scrivener. It has pretty much all the app-type tools listed above inside of it:
https://www.literatureandlatte.com/scrivener/overview1
For instance, it has a great notecard board you can use for plotting, and rearranging by click and drag. On computer or iPad. Or you can do the same thing in outline form by changing the view. Then change view again to make that outline into scenes.
I've used the Windows version for about 7 years. LOVE it. The macOS version is even more advanced, and iPad version is newer. The only thing besides Scrivener I use now for writing is Write or Die. I paste my Write or Die ramblings into Scrivener as scene first drafts and go from there.
Before Scrivener I used yWriter. No complaints really but far fewer features.