try putting them in size order from small to large on your pedal shelf or organizing them by brand, then plug DIRECTLY into your amp, set it wide open and change sounds with your hands, the pickup selector, volume and tone controls, then add the effects back in 1 at a time after you can work your tone that way... try adding the effects back in an arbitrary and random order to see if they surprise you being used in fresh ways
in most practical applications there are tried and true guidelines for pedal order based on effects type, but its all just BS unless you are in a cover band seeking classic sounds, you don't develop fresh sounds by following guidelines, so please experiment and trust your ears over prevailing wisdom... I will say this, I see you have a solid state practice amp and most guidelines you will see on guitar sites assume you have a tube amp when it comes to light overdrive and boost pedals (there is not point in slamming the preamp of an SS amp with a hot signal, nothing good will come of it)
some hard and fast rules that you should try to adhere to and the electronic reasons why as well as some tricks no one will tell you unless you can afford a guitar tech to play with your rig:
1) vintage style fuzz (fuzzface, maestro, tonebender, etc but not big muff because a big muff is really a hard clipping distortion that sounds like a fuzz) or discreet transistor 'colored' boost (rangemaster etc) MUST be the first thing your guitar pickup sees in order to get them to respond correctly due to the impedance loading they have on the pickup as well as the fact that they expect to see a high impedance signal, that means no pedal tuner out front unless it has true bypass
2) any overdrive that claims to closely simulate an overdriven tube amp should be the LAST dirt box before your guitar input if you want it to produce the amp-in-a-box sound it was designed to make, this is particularly true with a solid state amp as the last part of the signal chain since your use of the amp-in-a-box effect is to 'tube' your final tone up
3) wah is traditionally placed BEFORE a vintage fuzz for the 60s sound, but it can be finicky, so be careful and also be preapared to annoy people during soundcheck with awful howling and such if the electrical engineering gods do not favor you that day... if you place a stock, mass market wah directly after a vintage fuzz you will want a buffer between them so that the fuzz sees the impedance load its expecting from the tube amp.... most other effects should make no difference directly after a fuzz pedal as they present the correct load, but wah does not and this can cause weird tone (you may like it, I have done this on purpose in the studio with interesting results) or even crazy howling and squealing with certain fuzz/wah combinations
4) effects loops are usually lame, but sometimes you just have to break down and use them because many amps that bother to include them have a lot of gain and generate all their tone in the preamp so they benefit from time-based effects (trem, chorus, flange, phase, delay, reverb) in the loop if you are into that sort of thing, though distorting modulating time effects is a distinct sound and even distorted digital reverb and delay is a viable sound too, let your ears decide... trem you will want in the loop in this scenario as the volume drop part of the trem waveform will have less (or no) distortion if its out front of the amp and that usually sounds weird, particularly in a band situation (I prefer tube driven trem built right into amps anyway, particularly the fender bias-vary trem and the 50s Gibson amp trem designed by seth lover and of course the mighty AC30 trem circuit, wow.... supros have nice tube trem too, oh god do I miss the trem on my old dual tone, but I digress)
5) If you get your drive from the amp and really get the power tubes working in the traditional 50s thru 70s way then echo and verb are really great effects AFTER your tube amp.... how does one accomplish this, you ask? take a whirlwind DI box and put it between the amp and the speaker, then send the DI out to your effects unit and then re-amp the effected signal through apower amp (it can be solid state) and additional cab ( a fender solid state combo with an effects loop can work well for this, just plug into the effects return to use the power amp and speaker only, thus bypassing the crappy preamp and effectively widening your amp tone)
6) when it comes to overdrive and distortion, less distortion sounds more powerful in most applications, particularly when recording... by the time your sound reaches the audience it will sound quite a bit more distorted thanks to everything between the speaker and their ears...
and did I mention to spend more time perfecting your tone arsenal using only a guitar and cable into your amp?
anyway, there is no wrong way to do any of it as long as its creating a sound that inspires you, as a kid in the 90s I used to fuck around with my pedal order in crazy ways every time I bought a new effect or traded something in or out... any change was a reason to experiment with effect order to get some new (at least to me) sounds... I also would fuck with my guitar controls all the time to try tog et more variety out of the effects I had without needing to bend down
