Ignoring the flaws of the program you've used I think the Main problem you have with these figures lies in your construction lines (or the shapes you've used for them).
1. This head looks kind of sloppy and while I understand flash doesn't really give you the most control over your strokes you should still be extra careful in how you draw the head. Right now the chin/jaw is quite small and the titlt of he head doesn't really "fit" the angle that you have the neck. Another problem (which also includes the neck) is the width and overall SHAPE of it. The neck is almost cylindrical and fits into the traps and a slight angle. I can tell by looking at this picture you are doing what is known as "symbol drawing". This is when you draw something based on what you believe it looks like (some common examples of this are when people draw boobs and butts as round mounds or circles, when people draw the fingers connecting into the hands, and when people draw certain muscles like the biceps and triceps) rather than what the actual form IS. Right now you seem to have the notion that the neck and traps are almost one shape when in reality they are quite distinct from each other. By combining the shapes though you've significantly reduced the mass of the trapezius muscles and almost combined them with the delts and shoulders giving this awkward triangle like shape for the mass of the neck. The only thing I can think to help this (as quickly as possible) is to pull up anatomy references (at your level I'd shoot for already drawn anatomy studies just to get a feel for what the neck,traps,head area should look like and when you go to learn REAL anatomy pull out the science textbooks). When you aren't sure what something should look like pullout the reference and work it out. Drawing is probably 80% of understanding what you are drawing, one you understand the form it becomes unbelievably easier to draw it after.
2.You seem to have simplified the shape of the chest and in doing so also erased all semblance of a collar bone. The problem with this is that the clavicle is probably one of the most important tools inn creating/shaping/defining a pose and gesture. It allows you to shift the balance of the figure, give the pose depth by bringing it forward and backward and also helps to align the pectoralis muscles accurately. Since you've removed it you made making this a believable looking pose that much harder. The clavicle should look like handle bars and should span 'most' of the shoulder width, once you get used to using this tool it becomes second hand nature and creating more gestured and realistic poses becomes a lot easier.
3.This is another often "symbolized" area. I know the pelvis is this weird complicated awkward looking shape "thing" but I cannot stress how much a difference it makes when you learn what the pelvis actually LOOKs like as a shape and how things "sit into" it. Using a ball is a good tool but you should probably start off by drawing a slightly more real representation of it first just so that you can get a feel of how it works and how things relate to it. Once you get this down pat you can go back to the ball if you like but trust me on this the difference will be visibly noticeable. Now while I know some artists (i know Jim Lee does this) do make their figures using these shapes, what they have that you currently lack is a deep understanding of what they are simplifying.
4. I dont know how familiar you are with proportions but in any case make sure you are really careful with how you proportion things in a drawing, even if its a sketch and ESPECIALLY if it's going to be the structure of a more finished piece. Even if you're just doodling you should still take some care into how you proportion things because bad habits are hard to break when the time comes to break them.
5. Another area that appears to be out of your anatomical understanding range, which is the case for many people actually. I think you would really benefit from doing localized feet studies and just drawing feet in different positions. Find some good reference images of feet doing different things (preferably bare feet atm) and do maybe 10=15 drawings a day for maybe a week and see where that lands you. Take as much time as you want with them but just make sure you aren't just DRAWING FROM REFERENCE, One of the biggest mistakes a lot of artists make is drawing from reference straight up. Don't do this. The point of drawing from reference is to train your eye to break down 3-dimensional shapes into more simplified 2-D shapes and then render them for later. When doing these reference studies MAKE SURE YOU ARE ATTEMPTING TO BREAK IT DOWN INTO ITS IMPORTANT SHAPES, dont just DRAW. *Never JUST DRAW always have a direction or focus when drawing, work smarter not harder.
You also might want to practice getting down the weightiness of breasts and how the shape changes depending on the relative size and positioning of the body. If you get this down pat early you;re already ahead of the curve because there are countless artists that master muscle and bone anatomy in a matter of months but then just fail for years are the way fat develops and hangs on the body. >.> like me...
Notice where the lowest droop of the breast lies, notice how breasts have a VERY distinct shape to their curvature, notice how and where breasts attach to the chest.
Another problem I'm seeing in these two figures is a lack of gesture, in the male one there is 0 line of action and in the female one what little line of action you have separates into two near the naval area ruining the form and gesture of the figure. You might want to do some intensive gesture studies to get the rhythm and flow of the body down, which will in turn give your figures a new sense of life and action (in even the most subtle of poses)
Hope my CnC can be of some use to your artistic endeavors! wish you luck~
