My personal method is that for 'garden variety' sounds (doors, etc), I try to make it happen in about 3-5 elements max. Of course there are many exceptions to this on complex sound moments, but that helps me keep the edits under control and gives me a clearly-defined boundary of knowing whether or not a sound build is working or not.
Also, I agree and follow the same ideas as Jordan and Chuck, which are great answers.
What I have found effective too is to create a set of work tracks where I build everything that I know is going to be more than 3-5 library-pulled elements. This is my sandbox where I roll up the sleeves and get into edit densities that can be 30-40 tracks wide sometimes on a design. However, when I've reached that believability and completeness tipping point that Tim mentioned, I proceed to print down the content categorically and then pull those tracks up my FX tracks. This has to be done with care though and the strategy can change with each sound situation (high mid low, versus boom hit shimmer, etc - It's all about giving the mixers the intention, while still providing them with split out prints so they can control it in the mix.
In all cases though, I religiously use region grouping on EVERYTHING - and then name the region groups in all-caps. that way, when each grouping of sound elements is easily determined on the stage. Will the stage ungroup and dig into these sometimes? Of course! But, by giving it to them this way I have found that they appreciate the forethought into organization and session cleanliness. And, it helps them easily see what's what like an interactive cue sheet (for example, by stating in the region group name whose gun shots are whose, and which tracks are ricos versus whiz bys). Sometimes I'll use the region name to drop in notes in the naming suffix for the mixer such as:
** SOURCE MUTED ** = these are source elements for the printed track, keep muted unless you need to dig into it
**SWTNR FOR __ ** = the sound element was only cut in FX to sweeten or enhance something like prod FX or Foley (selling a weak O/S Foley sound), or may be only a 'partial-sound' meant to blend with Foley or Prod FX
** PANNED - SKIP PAST ** = already panned, save your time (only used sometimes)
- ** 3RD GRAB CHEATED ** = the third cloth grab sound has sync cheated for visual, etc
- ** MATCH GUIDE ** = this sound was created/selected to match or closely match what was heard in the guide
- ** ALT ** = alternate version of an edit or sound choices used in that edit
- ** OPTIONAL ** = optional, additional element which is non-critical but was edited; if the stage chooses to lose it, it won't affect the integrity of the primary sound
There's a ton of different ones, and these are only some specific examples I can think of. But, these can be a great roadmap for a mixer as part of that interactive cue sheet method.