For diatonic major and minor scales, A B C D E F G will always be the (ascending) order, without regard to key signature or numbers of sharps and flats (or steps).
In tertiary chords, alphabetical order will always be A C E G B D F A (skipping ever other letter).
It follows that diatonic seventh chords from major or minor scales (without regard to any other factor) will always be these seven combinations: C E G B; D F A C; E G B D; F A C E; G B D F; A C E G; B D F A.
1 3 5 7 in any diatonic seventh chord from a major or minor scale always refers to letters of the alphabet. For example:
1 3 5 7 1 3 5 7 1 3 5 7
A B C D E F G A B C D E F G A B C D E F G A B C D E F G A
1 3 5 7, apart from any other consideration, always maps to a letter (not to steps, sharps, flats, major or minor).
Alphabetical order will always remain alphabetical order, even in cases of scales where letters are subtracted (A B C D E G) or doubled (A, A#).
With alphabetical logic in mind, it becomes relatively easy to apply other information (major 7, minor 7, half-diminished 7, dominant 7, etc.).
For example, if all you know about a chord is the letter (root) and that it's a 7, you know what letters are involved. A Cmaj7 is going to involve C E G B, a C7 is going to involve C E G Bb, etc. (For that matter, a C#min7 will be C# E G# B). But the C E G B letter names and alphabetical order will be a constant.
I wish I had recognized the logic of alphabetical order (forward and reverse) before anything else at the start. Unfortunately, this simple logic is seldom discussed before steps, accidentals, major, minor, diminished, etc. and gets lost, making chord symbols and scales unnecessarily difficult and confusing. If one keeps the logic of the alphabet in mind, modifying the letter names with other information (sharps, flats) becomes relatively quick and easy.