I'll try to throw in a few things...
In my world, I've yet to work with a recording device that creates a polywave, I always record to a stereo track of some sort. I treat it like two separate tracks and normally pan boom hard R and lavs hard L. Sometimes it's boom hard R and plant hard L, sometimes it's two lavs R and L, it all varies. I always make notes about track assignments in the sound report.
If I'm using a more complicated mic setup (like 2-3 lavs, boom and plant/2nd boom), I'll mix between these mics a bit. What I'm looking for is the best signal-noise ratio (keeping in mind that if I keep all the mics open at the same time, I'll have the highest signal-noise ratio), no phasing, and no movement noise (if I'm not able to get around a talent's movement noise as they cross while another talent is speaking, the moving talent's mic is pulled out at that time).
Of course, in your situation, this is all kind of hypothetical stuff. Because I've never worked with more than a stereo file, when I deliver the audio to the picture editor, they receive that stereo file & my sound reports. When they edit, they've always edited just using that stereo track and when they deliver the OMF/AAF to the dialogue editor, they'll get the same thing. So, the editor is never working with the camera audio. It'll be either the editor or the assistant editor who syncs up the location sound files with the picture. This is because cameras don't always have microphones/sound capabilities (in the case of film cameras) and so it's kind of become standard practice.
Assuming I'm in your place and kind of doing everything (this is more my indie/student film mode, not my larger crew feature length mode), I'll edit dialogue first. Read the Purcell book, but the main bullet points are building fill, fading fill in/out under "mods" (modulations, places where dialogue is happening) and filling over revealing noise issues (director talking, people dropping stuff on set, etc.)
Next comes sound effects. I try to start with my BGs, creating the "world" for this movie to happen in. I'll add in traffic, birds, walla, wind, it all depends on what it's calling for. Then I'll do hard FX, things like doors, guns (if you should be so lucky :p), stuff tied directly to the picture. At this time I'll also either cut or record the Foley (walking, prop movement, cloth movement mostly). Music will happen after that, and then we mix.