Thanks for sharing that with us!
One thing that I think you can improve on is your line confidence. I notice that when you get to a part of the body/just some part of the picture that you aren't quite sure how to draw, your lines break up into little segments. Lots of artists do this in the same situation as you. I'm not sure if there's a proper term for it, but I'll call it Battleshipping, because the idea is to throw down lots of little lines in the hopes that they will land where you want them to. The problem with Battleshipping is that it makes it very apparent that you don't know how to draw a certain thing (and to clarify, it's possible to usually be able to draw something, let's say hands, and then suddenly you have a huge struggle with one particular hand so you Battleship it and it looks out of place with everything else).
It can be hard to transfer things from the mind to the paper when the image in the mind might not be so clear to begin with. When you run into trouble with a particular thing, this time let's say it's a shoe, instead of thinking "How do I draw a shoe?" what you want to think is, "What details do I need to include so that my readers know this is a shoe?" I always go back to the hand analogy, because hands are a thing that artists often struggle with- when it comes to hands, we don't need to see all five fingers to know that something is a hand, we don't need to see the arm connecting to it either. Think about drawing something using shapes and movement as opposed to aiming for photorealism. It will make the act of drawing more interesting and rewarding, and may make it feel less like a chore, because you will be less concerned with exactness than with representation.
Two exercises I can recommend for you:
To combat the problem of Battleshipping, draw a few things that challenge you, and while doing so, don't let the tip of the pencil/pen leave the paper. It will look kind of silly, as you'll need all of those connecting lines to floating pieces, but it will keep you from doing little hashes and picking up and going back when you reach a "dead end." Get more in the habit of using long connected lines as opposed to short, separated lines when possible. This will help maintain flow in your art and keep the image looking cohesive and well-thought-out. If you aren't sure where an outline of a body part is supposed to go, first map out the underlying skeleton (which is a good idea in general, too). Do this on a separate piece of paper a few times to see if there's a way of putting that line down that you think would work particularly well for a given piece. Remember, if you make a long line that you don't like, you can always just go back and erase it. A long line that is slightly imperfect in placement or shape or whatever looks more professional than many small lines that approximate a correct line.
The second exercise is gesture drawing. Here's a website
that can help you out. The idea is that, instead of trying to make a drawing that is technically correct, you try to convey the movement or feeling behind the pose. What you do with this website is select an image and a time frame you feel comfortable with (usually 30 seconds is a good idea) and do your best to sketch out that image within the time frame. You'll notice you don't have time to lay down a skeleton or draw each piece of each body part, but the idea is to draw something that, if you held it up next to the image you were given, a person could look at it and say "Yup, they're standing the same way." You may choose to start with one minute to complete your drawing, and as you find yourself getting better, reduce that time. This will help with line confidence as well, as you'll learn what lines are necessary (at least with regard to the human body) in order to represent human or human-like beings.
Both of these exercises are things you wouldn't do and just explicitly leave in, say, a comic you were working on, but they are useful in the inking and sketching stages, respectively. Gesture drawing is great for mapping out body language and creating poses that don't look stiff and flat. Using connected long lines when inking makes it look like you know what you're doing, even if you don't, so much so that eventually you WILL know what you're doing
It makes your work look more professional and won't distract, as Battleshipping does, from parts of the image on which you had done particularly well.
Hope some of this is helpful to you. Good luck, friend!