I think it's still a bit too early to go for details. Try focussing on the proper proportions and placement of hips, ribcage and head, first. The ribcage is somewhat egg-formed, and the typical upper-body silhouette of a person includes finding the placement of the chest, but also the shoulder joints, which are outside of the chest. Drawing a shoulder line might be useful to understand how the parts come together.
Likewise the hip contains the joints of the legs. Try to spot the joints. Your limbs partially don't attach where they should go.
Don't search so much for outlines and surface lines, really try to spot the underlying structure. (And I am totally talking to myself, too, when typing that)
Check out Arko's thread right next to your's, they pretty much nailed it.
Well, N2l, I just need to say, that's a very sweller job on your line of action poses. Very organic and flowing, indeed! I've got one tinier, littlest nitpick. I love the intentional and deliberate lightness of your lines, but I'm just don't and can't get enough of the strongest lines of action, and lines of rhythm in those forms. Would you please work on loosening up and enlarging the graphic lines with 10 x 119 second poses of the dynamics? (all on the custom timer on Line of Action, and all flipped horizontally or vertically)
The reason why you could do this?? As long as you try out that custom timer, on your figure quick sketches, those quick sketches will become the most largest, longest, feeling the lightest, and the most cartooniest, liveliest, and most animated in those drawing.
Good luck to you. Keep up the good work, and I hope you'll find these completely and totally useful.
Something particular I notice about your pieces is a sort of over-focus on the contours and form of the body, and less on the energy of the pose. It seems almost as if you are focusing more on capturing as much of the model as possible rather than the energy of the pose — something I was definitely guilty of before.
A good way to combat this, at least in my experience, is to truly start from that longest axis on the pose — that one that spans the longest range of the body — and then add on details around it. When doing so, don't worry about the bumpiness of specific muscles like those in the legs or the biceps, but instead just the general motion.