We have seen (from Combination Analysis: Extras) how a number of subroutines can be created through the dismantling of a single combination sequence and manipulation of its components.

If you applied this process to even just a handful of sequences (gleaned from your peers, instructors or videos) you would obtain potentially hundreds of fresh subroutines. But then should you admit just any old subroutine into your library? I'd say yes.

Just because a subroutine is there, doesn't mean you have to use it. You can learn as much from the bad ones and what not to do, as you can from the good ones. So there are two sections in the library: a passive section containing subroutines that would either be reserved for special circumstances or not used at all; and an active section containing the stuff you'd tend to use all the time.

Deciding which section a subroutine belongs to is governed by feedback from your self, your partner, and a third party like onlookers or videotapes of your dancing. Ask yourself: Do you like the flow of movement? Does it feel good to dance it? Does it look good? Does it suit your style? It may be a good idea to dance your partner's role as well, and watch another couple dance the same thing.

Size doesn't matter (much)
There's more to the active library than just population size. It's also about what condition each subroutine is in and how you use them. In other words, pay attention not only to the number of subroutines, but how well you dance them, and how you put them together.

With twenty subroutines you could create thousands of sequences, enough to make every dance unique. Once you attain that state, the only important things are the way you let the music inspire you, and the way you communicate that inspiration to others.

The Zen of Subroutine Libraries
The true goal of the library is the diminishment of its own significance.