Here's what I do.
Assuming there's 22 pages for a book.
Take a piece of paper (I occasionally do this on a WP or Organiser software - but usually I do this while I'm riding in the car, or watching the kids swimming lessons so it's easy and efficient and give me a bit of extra time, PLUS because it's "bitty" I don't need a swathe of time to concentrate) and I list the page numbers down the page. I then link with a line, to the left, each spread (2-3, 4-5, 6-7, etc).
I then write a sentence for what happens on each page. That allows me to think about the book as a whole and get the last page to be the end that I want (be that a cliffhanger or a final conclusion).
I then take another piece of paper that I have created a template on, and thumbnail the entire book. Very loose, small (22 pages on one sheet of 8.5" x 11") and break down the panel layout. In addition to helping me work out the flow and dynamic of the pages, it allows me to dupe pages I want to or make sure that page layout isn't too repetative.
Next I write the script. I do this in MovieMagic which has a template/macro thing set up for the format.
First thing I write at the start of a new (comic) page, is a description of the page payout. What size panels are, where they are on the page, what is inset where.
Then I do the panel descriptions and dialog.
I don't state where dialog/blurb bubble should be on the page, I leave that for the artist and letterer to work out - a competent artist knows to leave room for lettering and if they follow the script, they know how much to leave.
I have no default layout for a page. Each page is dictated by the contents.
And even allowing for me planning the pages very precisely, I always tell the artist to feel free to change things around if they want when they start to draw, since I know that the thing can evolve as the visual takes a hold.
Never done the "Marvel style." And in truth, the one time I tried it, the artist came back to me and asked me to script it fully again. And she is a very good penciler.
For me, I think it boils down to this. Be as detailed and precise and exact as possible, then when you let it go to the art team, be ready and willing to let it all hang out and roll with what they do. It is a collaborative process, after all.