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It's probably not what you want to hear, but there's no single standard workflow or effects that always get used.
If I had a couple of bits of advice to give, it would be to get your location audio as good as you can to minimise the amount of post production processing you need to do. This usually means NOT relying on an on-camera mic but, rather, hooking up a proper production mic on a fishpole and getting it as close to the actors as you can. Relying on cheap mic at the camera position never gives particularly good results.
The other suggestion would be to always record a few minutes of atmosphere at every location so you can use this to provide a continuous background sound to cover the editing you do between angles and shots.
I've obviously not heard your audio, but I'd be careful about "cutting out the hiss". This can give a very artificial atmosphere that comes and goes with the dialogue. Normalise if you need to--but it's better to get the levels something near right on location. Sometimes some EQ can help with the intellegibility of the dialogue if you do some judicious cutting of frequencies outside the main vocal range--but really every case is different and it's just a matter of using your ears rather than working to a "standard" set of effects and processes.
I agree with Bob. How you approach your audio depends on the quality of the location audio recording. Each scene will most likely be different. Each shot of each scene might also be different as far as audio.
I usually take it on a scene-by-scene basis and get each one smoothed out as well as possible before adding any sound effects or presence tracks. I'm very careful with Normalization because it can bring up background noise - a little bump up in dialogue level can go a long way.
This is recorded with an Azden boom mic on a pole.
Sometimes the actor is speaking softer, so the record level is higher which creates more hiss in the same scene. So that is the situation where I would go in and try to minimize the hiss in the dialogue audio and bring it under the ambient room noise audio track so I don't hear differences between different setups.
It probably would be smoother to just minimize rather than cut out the hiss in the noisier shots. If you know how to use a gate you could use that to lessen the noise inbetween the dialogue - gates are used all the time in film audio work for dialogue. In fact, I could hear the dialogue gated in the film Hugo when I saw it in the theater.