My first project here

If you try and line her up with some of the intersecting lines, specifically her head that should work maybe sort of ish, kind of only a guideline rule so just try it kindofathing.. (kindofathing not a word.. pssshh.. crap spellchecker! )

You might want to try extending the canvas to the right? I used four golden spirals instead of the rule of thirds. Some say it's the better version some say it's just a different option..

I'm not really lining it up all that well but we have to leave some work for you after all..
Anyway it's another option to consider

Hmmm, that's interesting, I'll (literally) sleep on it. The number of times I go to sleep and stuff is fixed in my head in the morning is unreal!

I like the way it works with rule o' thirds!
If you sit back and let your brain go numb (or numb-er, in my case), you'll get a feel for the swoop that the figure is making, from head to tail. There's good tension between the head and the top-right corner now. Then the line of the torso swoops down and across to the tail, which points up to the top-left corner. The wave shape then actually carries us back to the head. So the whole composition now keeps our eyes moving in that circle around the figure and back again. Nice!

Yeah, I can see that now. Thanks guys.

Hey Stuart!

First all, love the idea. Very simple but I think sometimes doing something simple can open up a wide platform for putting in unexpected details later on.

Now, into the nitty gritty since you're messing around with line work from references. Smolin touched on it, but line work from a reference can be REALLY tricky. And he's right that it's SO easy to miss nuances or get them wrong. Lines can tell us a lot, but for line work to really work, first you have to have an understanding of how lines behave and use them to define your subject accordingly. Your tendency right now is to use the lines as outlines and really they should be more 'guide points'. Areas in a sketch that remind us of what to watch out for in the twist of a torso, the direction of a look, the angle of a shoulder. The rest of your lines should be light and 'sketchy' just sort of there as place markers but not really heavily defined. Once I've done that, then I work on fleshing out 'form' with value work on how the light is behaving. This is really what helps me figure out the mass and anatomy of a subject. The lines just sort of give me a basic road map of where to build my forms of shadows and light. Hopefully that makes sense. If not I'll be happy to contribute a sample sketch process of what I'm talking about