It's really up to you to notice how well your tracks are doing. Mine ain't doing so well, which is why I'd rather take commissioned projects rather than simply churning out endless numbers of mediocre ones, and hoping to strike the jackpot.
Commisioned projects have alot more benefits than just "churning and hoping to hit the jackpot" production tracks - namely being - you elevate yourself as a film composer, and also, you earn alot more at one shot.
I think it's wise to start networking and spreading your worth by word of mouth - rather than depending on some production track company to hand your '200 tracks' to networks, many often times, whom would never really pick your tracks.
Commissioned projects make you a better composer, as well as earns you more income, rather than churning out 200 tracks and hoping they get used somewhere for only a few cents on the dollar.
The question is, are you a composer who only knows how to churn out tracks that are easy for editors to edit, or are you a composer where the ENTIRE FUCKING PROJECT'S DESTINY is placed in your hands?
It takes ALOT MORE of intuition to interact and understand a director or a producer for a specific project, than just simply making your tracks easy for editors to edit. Are you willing to climb THIS mountain?