In Denmark, where I live and work, we normally get around 5 days to do all of the foley for a feature film. This varies though, as some films may require more time and/or have more money. But anyway speed is important. If you work fast, you'll be able to make every single foley sound you can imagine for the film.
If you are going to work with an experienced foley artist, try to learn as much as you can from the artist. If you are interested and polite, you can have a lot of fun while recording good foley. The first time I recorded foley was with a foley artist who has made around 300 films over the years, so I learned quite a lot. I have worked with him on almost every film since then, and we have a very good working relationship.
Try to be fast and flexible, so you can improvise when you get new ideas.
I never write down cues in advance, but I know the film well.
We go through the film scene by scene.
First we do clothes. This is like a soft start, where we can get a feel for the scene. Clothes sounds aren't too dependent on being spot-on sync, so the foley artist can get a feel for the rhythm and we can keep a look out for what sounds we might need to do.
Then we do the steps.
After the steps we do everything else. And with everything I mean everything that moves or could make any kind of noise in the picture. Of course you may not want to have foley wind noises in the final mix, but you might want to have the sound of a flag waving in the wind.
I always give the sound files a name right after recording. I name them by scene, description and a number if i have more of the same, like: "murder knife 2" or "sex bed" or "airport steps Jack 3".
Always keep in mind that you have to work fast and make about a reel a day if you have 5 days for the film. So you'll sometimes have to accept things that are not perfectly in sync, but almost, and move on befor you get too tired of the film.
After a couple of days you will get a little crazy and start judging the sound of your own footsteps when you return home from work....