Isolate your vocal part. Mute all other instruments so you can focus on just the vocal. Edit or automate spaces between vocal phrases. You may include breath sounds unless those are desired in the finished performance. If you have several takes of the vocal, you may wish to copy and paste the best sections, a practice known as "comping," or compositing a vocal.
Apply first-level dynamics processing to your vocal. This may be compression, limiting, or preferably, programming volume automation to smooth the overall level of the vocal track. When this is complete, bring up the level of the instruments to roughly approximate a finished mix so you can evaluate the sound of the vocals against the instruments.
Adjust the equalization of the vocal as required. There are no standard frequencies to adjust. Each voice is different, and even the same voice will require unique settings from song to song. Problem areas include sibilant frequencies (ess and tee sounds), nasal tones and subsonic frequencies below 100 hertz. Good engineering practice recommends subtractive equalization rather than additive, to reduce added noise and phase issues.
Apply second-level dynamics, usually in the form of a compressor plug-in, to add snap and sparkle to your vocal, so it will stand out from the instruments while still blending in level. The ratio, threshold, attack and release times are all dependent on the voice, the style of music and the arrangement of instruments.
Consider reverb or echo effects. The amount of reverb goes in and out of style. With a light touch, a listener may not even be aware of the addition of ambience unless it is removed. This is a place where quality monitors will help you set proper reverb levels, an effect that is often overused. Studio monitors will reveal detail in a good listening space. Learning not to overdo the reverb is up to you. While vocals are often panned in the center, there's no reason you can't experiment with positioning. Try placing the return of your vocal reverb in a different spot also.
Mix and adjust the remainder of the tracks to support your main vocal. This approach is called a "top-down" mix, as you start from the vocal, arguably the most important element, instead of starting with bass and drums and saving the vocal until last, where previous decisions may or may not be supportive.