Let me recommend Stephen King's (and my own) approach, "Discovery Writing."
In this approach, you don't begin with a plot, you let the plot develop as you write.
Instead, you begin with a character you personally find compelling, your hero. My approach is to give my hero something they are very good at, a skill or trait, and also something they are not very good at, which will matter.
You introduce your hero, hinting at the thing they are good at, living their normal life. That is what you think and write about first; your hero's normal day to day life, happy or neutral, they are getting by on their skill.
But then they encounter a problem, something they care about, even something they feel compelled to solve, but the hero cannot solve it with the skill they are good at.
In fact, it will turn out, the only way to solve it is with the skill they are particularly deficient in. And there is your story: Their journey to correct their deficit and become a better person, to solve this problem.
Along the way, there should be opportunities to use the skill your hero is good at, to help or defend others, and reinforce their heroic status. But in the finale, having overcome their deficit, becoming competent in the skill they were bad at, is what lets them overcome their main problem (or villain or whatever).
You don't have to plan the novel. Or the plot. Discovery writer's start with a character, their personality, their skills.
You don't have to do a lot of world building; you can pick a theme (modern times, medieval, futuristic, fantasy) and build the world as you go, to suit your story.
Discovery writing is character focused. You get at least one character's personality set in your mind, and start writing.
I recommend using the "Three Act Structure" as a guide. Google "three act structure" with "guide" or "template" etc, you'll get something like the image below. Dozens of them, in fact, so pick one you like.
But the point is not to pre-plan all of the plot, you use this as a compass to write a good story, with conflict and character growth. Notice these are in percentages of story; they apply to short stories or long ones. Google "typical novel word count", you will find the typical adult novel is 70,000 to 120,000 words. Pick a length, I'll say 100,000 for convenience.
In the structure, at 12% (1/8th) of the story, is the "inciting incident", the problem the hero encounters, that will eventually overwhelm them and force them to leave their normal world (that happens around 25%).
Now these percentages are not iron rules; there is leeway, but basically you should be done introducing your hero and any other critical characters (normal life contacts) as you close in on 12,500 words; they should be getting to the "inciting incident", the thing that happens that will ultimately change their life. It may not seem to, they may try to ignore it, but if they do it gets worse or there are consequences.
And the same for these other turning points; about 15 or 16 of them. (You can even ignore some minor ones if you want). If you overwrite, it's fine to write 105,000 words, or underwrite at 95,000. These are just guideposts you should see along the way.
If you get stuck, go back and rewrite. Save your old stuff in a backup file with a date; so you can reference it if you want, then delete pages and redo them. Discovery writers do a lot of rewriting to polish up and refine the plot after they discover it through writing.
It turns out to be about the same amount of work, but for me, when I tried outlining early on, I always found that once the plot was set and resolved, I lost interest in writing the story. Discovery writing, with the 3-Act structure template as a guide, rescued my hobby. The template just tells me the type of thing I should be writing at this point in the story. That is why I say it is like a compass; it shows the direction you should be traveling in.
Not knowing exactly what would happen next kept the writing engaging for me. I don't know exactly where the path leads, I am just laying down the next stepping stone on the path. When I am done, I will stand on it, look at my compass, and figure out where the next stepping stone must be.
I think whether you are a Plotter or Discovery writer is a matter of personal makeup. For me, if I plot, I lose interest in the writing, it seems like a chore. Just know there are two types, and both types have wildly successful published authors. If you aren't getting anywhere with Plotting, perhaps you should try abandoning the planning, start writing and follow your compass.