Ahh well I'm sorry to hear that. Find solice in the fact you will at least learn a lot from this artistic experience, even though your relationship didn't go well. Here is the bit of help I can offer, I'd spend more time on the sections but with there being a deadline and my own painting unfinished I can't spare too much currently. Either way, I hope this helps a little. If you need extra ref, I recommend looking up the perspective and foreshortening tutorials of Krenz, he's a master and simplifies them quite well.
Anyway, the point being you need to start off with big, simple shapes that fit easily into a perspective, boxes work well as they fit it perfectly. Humans are more complex, and I'd suggest you study more on applied humans in perspective rather than just going at it blindly. A good book on that would be "Perspective for the Comic Book artist" by David Chelsea. That's where I learned initially!
About the drawover, I featured two slightly different poses on the right there - it's difficult emulating your pose because it's uncomfortable to stand like that irl, and jutting out the far hip is really difficult to show in a perspective setting. So I modified both a little, made it easier even, as I struggled a little initially. When it comes to people in perspective, I think of three large boxes, one for the head, torso and legs although arguably the torso can be split into two as the ribcage and hips operate separately of course.
Another thing about your pose, I assume you were going for some kind of contrapposto, but both sides of her body were leaning at the same time, which again is actually really unnatural and difficult to do irl, so I gave her a proper contrapposto (i.e. if you're unsure what that is, it's where the figure is leaning on one hip, with a shoulder tilt meaning one shoulder is raised, there's an example below)
With contrapposto by the way, it can only be opposites of the body, the shoulders tilting upward on the left, leaning on the right hip or vice versa