I would like to expand on Lauren Ipsum's answer.
People are different, yes, and some people like to outline, while others dislike to outline. The latter are often called "discovery writers", because they need the experience of discovering things while they write to keep them motivated. Plotting the story beforehand will give them the feeling that the story has already been told, that everything is known about it, and they will find themselves uninterested and unable to make the effort to write following that same path again.
But there is something else.
Story is something that you learn. Which is why reading is helpful in writing. A person who reads and writes a lot will eventually develop a feel for how a story is structured.
In the beginning they will have to consciously think about and plan their plot, of if they don't they will find themselves lost and stumble into plot hole after plot hole. But with each story they read, this structure becomes more and more ingrained, and with every story they write, they become more and more sure of this procedural knowledge and better able to subconsciously produce this structure.
And eventually they will no longer need to plot, because each seed of a story idea will always contain this structure and unfold just right in writing, even without an outline.
Just a few days ago I sat down to analyze the first draft for a novel I had written. I had written it in discovery style: I had begun with the idea of the first scene, without knowing anything else about what story I would write, and then simply followed my protagonist from there, until the story came to an end. I am currently rewriting that novel, so to intensify and emphasize the inherent structure, I took a book explaining the schema for the plot points in a three-act structure and went through my draft to identify those plot points. I had never before studied the details of the three-act struture, and while I knew what it was and what plot points were, I had never tried to understand it in a manner that would enable me to apply it to my writing. This was the first time I actually really looked at that structure, and I was surprised to find it reflected in the structure of my draft exactly. All the plot points were there, the division into three acts was obviously apparent, and the character arcs had precisely the increasing-amplitude up-and-down curve that the theory prescribed. I had written a three-act structure without having learned it! So, apparently, I had learned it, but not through a how-to-write book, but from reading, watching movies, and many failed attempts at writing a novel or screenplay.
Despite all this, it seems to me – from many interviews with writers and my own experience – that the smoothest way to write is a combination of outlining and discovery. Develop your idea as much as necessary, and leave yourself as much space for discovery as possible. This will help you avoid lengthy and painful rewriting, and at the same time it will make writing fun and exciting.
Exactly how much outlining is ideal will mostly depend on the kind of story you write. A contemporary romance does not need much outlining, as the appeal lies in the interaction of the characters. A detective novel will need a lot of planning, because the narrative structure needs to integrated with the logical system of clues and discoveries.
But in the end, as Lauren says, you will have to find what is right for yourself. No one can tell you.