Hrm.

If your songs sound like a beat with extras on top, you need to make things sit more in tune with each other, instead of jumping out more.

The method you heard involves panning your main track hard left, and a delayed track (~10ms) hard right.
Alternatively, double track.

I also think you "mix" in Fruity Loops - if you mash multiple streams of audio together, it's mixing.
Mastering is a black art that involves improving mixed material and increasing consistency, etc.

Yeah,

I didn't even understand the vocal analogy?

Codemonkey's got ya on the double tracking.

And you can bet your bottom dollar that you are NOT mastering in FL Studio. Not to be mean, but you need to do a lot of reading on what mastering is so you can even begin to understand what you're not doing, what a lot of us aren't doing. Mastering is a WHOLE other ball game.

Another tip actually, if you want "surround vocals" is to slap a reverb on it then turn it down until you can't hear it.

If your track is too in your face as opposed to the beat, find a reverb, turn up the damping, turn up the early reflections. Turn down the volume until you can just about almost sort of hear it when you really listen.

Reverb is one solution, adding a second slightly delayed track is another, recording a second vocal take exactly like the first and blending them is another (but requires a talented vocalist able to recreate the exact timing of the first.)

Though you might want to examine how you are recording the vocal to begin with, mic, distance, gain staging, room size etc. When a great vocal is recorded really well it usually needs a lot less post production

I've actually recently used a technique similar to what Codemonkey mentions. Not necessarily for the same reasons, but I can attest that it does give the vocal a lot of space.

On the same project, I also added:
1: a "forehead" mic (above the main mic, angled slightly downward at the singer's forehead),
2: a room mic behind the singer (about 5 feet back, and a foot or two above the head, pointed at the head).
I also put a fairly reflective shield (glass w/ some blanket dampers) in front of the singer - it helps the rear mic pick up more.

These also helped to add some space. I'm not saying you should follow my placement exactly - it worked for my space and the materials on hand.
You should try a mic in the room though - move it around until you find the spot that you think adds the right sound.

Doesn't this set up create huge mic phasing problems?

I have been forunate enough to be recorded in several high quality studios with very experienced staff and never saw the set up you are recommending.

It hasn't caused any for me so far.
The addit'l mics are pulled way back in the mix in relation to the main one.

Sometimes I don't use the extras. Lacking a good reverb, I often find a single 58/57/etc just sounds too dry in the mix. In come the other mics.