As a general rule, most ii-V situations are either 2 bars (one bar for each chord) or 1 bar (2 beats to a chord); the I chord may or may not follow and when it does it can be 1 or 2 bars. I think you could spend a lot of time mastering those two scenarios (2-bar and 1-bar ii-Vs). However, it is often the case to have a few pick up notes in the preceding bar or you can even anticipate the ii-V change by starting it in the previous bar, say on the 'and of 3.' So you can experiment with that once you are comfortable with those chords.
Also using fragments of the bebop scale (adding the maj7th on an upbeat to the dom7th chord) and the b9 of the chord on the V7 chord helps smooth out the line, as you'll see in some of the Charles McNeal examples. Enclosures and passing tones help too. When you get good at this, you can sometimes forget about the ii chord and play a V7 line over the whole progression. With the caveat that the ii chord moving to the V adds some nice movement, so don't ignore it completely.
