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One basic sliding technique is to keep your weight slightly forwards on your balls of your feet, and keeping the heels off of the ground (as you'll probably found that they will brake you).
I've only managed to heel slide in “normal” ballroom dance shoes and in latin dance shoes with a Cuban heel — I suspect that shoes with a “rubber” heel wouldn't be suitable for a heel slide. On both shoes the (right) heel is wearing down to created a chamfered (angled) “back edge” to the heel. The “leather” finish on the heels has worn off (leaving the occasional black skid mark on the dance floor) leaving a smooth “plastic” area on the heel that seems to be suitable for sliding upon.
An alternative sliding technique is to do single heel slides, keeping the heel of one foot touching the ground (with its toe pointing upwards), while the other foot remains “flat” on the floor as in a basic slide.
Don't necessarily have to step-backwards, could say step-across.
Replace rock-step with a swivel-swivel variations to get a more traditional Swing-style --- especially ladies (work that skirt). Note that swivels generally take less effort and are safer on a crowded floor, as there is no step backwards. Replace steps to the side with slides (extend the step over multiple beats) -- may be a good idea for breaks / hesitations. Stomp off.
When doing a back rock, make it small (and hence quicker, and less chance of collisions) and don't step backwards with full weight on the “back” leave your weight over your toes, don't drop the heel fully — since you will need to move your weight forwards on the “rock” step, it's easier to only partially move your weight backwards, so that there's less momentum and distance to return it forwards. In particular, don't dance the back rock, so that the weight transfers fully and the front foot raises off the ground when stepping backwards — it'll mean that you have to jerk on the handhold to yank your weight forwards.
Use the handhold to accumulate the extra tension from the “back” step, and then use that tension to do the “rock” step. The steps will be much easier to perform if both the handhold and back rock are performed smoothly — without sudden discontinuities in momentum, or direction. Don't dance a rock step so that your weight completely transfers to the back foot — especially don't lift the front foot during the rock step.
Keep your weight over your feet, and more over the balls of your feet than the heels, it'll make it much easier to change direction quickly, etc.
Must keep your knees “soft” and relaxed (certainly not locked) when dancing fast complicated footwork, such as salsa shines.
Fast jumps, e.g. Hip-hop shim-sham, into a frog etc., are best if the jump is kept “flat” and close to the floor — otherwise, most of the time for the step will be taken up in the air, which can mean that the rest of the step will be rather hurried.
With a conventional shoe, with a solid heel, it's easier to pivot sharply by stepping from a heel onto a toe (i.e. with a raised toe), pivoting on the heel and then dropping onto the toe.
Footwork Variations can be used to vary the speed of the dance — especially when the music is fast.
left-foot step (with weight) slightly to left.
Tap right to left.
R-foot step (with weight) slightly to right.
Tap left to right.
“Dirty Mambo” footwork in a stop and go, or lunge.
Kick ball change.
Rondé ball change. Watch out behind, and to your sides.
Dig ball change.
When kicking, move your foot, rather than moving your leg (or raising your knee) — it's much easier to control and less likely to kick someone (as you'll be concentrating on where the foot is moving). Normally more of a flick than a kick, don't show your shoe leather. Be extremely careful kicking in high heels, especially at groin level!
Kicks can be painful, so be considerate and keep them small or avoid them entirely when the dance floor is crowded. Kicks are not recommended for slow music, as you can end up balancing on one leg for long periods in a sort of arabesque. Other options include Lindy Hop style kicks, or the side-footed variation from Balboa.
The leader kicks over (above) the follower when in closed dance hold, i.e. above, and slightly to the side of, the follower's kicking leg.
Be careful to avoid the “spotty dog effect” in Charlestons, and in any form of kicks, etc.
It's not all in the hips.
If you are “pulled up” then it is impossible to wiggle, you are more likely to end up rocking from one foot on to the other since there will be no “slack” in your knees. To be able to wiggle, you will have to keep “soft knees” to allow you to move your pelvis and hips without causing your feet to move. Similarly, to be able to wiggle without moving your body and shoulders, you must be able to keep your stomach/diaphragm relaxed — so that hip motion is isolated from body and shoulder motion.
The majority of hip action is actually generated by transferring weight from side to side, which only causes the hip movement as a consequence. Hip motion generated by deliberately moving the hips looks unnatural and stilted.
It is possible to “fake” wiggling your hips, well at least when stood still. Forget your hips — keep your legs and knees pressed together with “soft” knees and then move your knees slightly from side to side, or even draw small horizontal circles with your knees — your hips should start to wiggle of their own accord. If you are practising wiggling, then placing both your hands at the top of your pelvis can make it easier to feel how your hips are moving by feeling the movement through your hands and arms.