I think the initial structure is salvagable. You'd need to involve the model more in the geometry to show that she's 'really there' so to speak, and also not treat the textures and details on the rocks and how the hair drapes on the rocks in such a 'two-dimensional' way. Why do you distort the linework of the rocks? You didn't use three point perspective, so I suggest you keep the vertical lines vertical and the horisontal ones horisontal. Don't eyeball perspective often. If you want the rocks to curve as well, you'll need two or three point perspective.
The way you're doing the cracks on the rock is two-dimensional. I can't explain this much better, if you see it, you can't unsee it. You have to apply perspective to these things as well.
The hair should cohere with gravity more, I think.
I extended the one leg in such a way to show it over the edge of the rock, ti involve the model more with the geometry as I said.
The position of the head is very very painful. Try aiming with your chin at the top of your shoulder too, you'll see.
The lighting on the body and the body's cast shadow on the rocks do not cohere, you'd have to alter one or the other. Seek reference on this. Also, you have a tendency to shade human skin as if it's made of some material that is quite not skin-like. Huge highlights that override the tone of median tone of the skin, as if the person has charcoal whites painted on them. There are lighting conditions in which skin could respond to some light like that, perhaps. But it seems to me you could try toning it down and seeing how you like it.
I didn't edit that black shadow in the hair but it's problematic as far as looking like a deep dark hole in the painting.
There's a lot you can do with this and I urge you to not finish it quickly. Toil at it, struggle with every little thing you have to make a choice about, find reference and reason for your choices. It'll be an uphill struggle but it'll definitely lead somewhere.
Don't let pixel tech confuse you, deal with the fundamentals first. Good luck
