Since we've chatted via other posts about your painting style overall, I'll just supplement with a couple of notes.
Simplify. The neck is substantially overmodeled, by which I mean there are too many small, disconnected shapes exhibiting too wide a range in values, all packed into too small an area. The darks in the hollows above and below the collarbone and the darks in the folds and creases of flesh are just too extreme. Same goes for the dark shadow running down the cheek on the viewer's left, alongside the nose and past the mouth. A photograph on a bright day may show the darks that dark. They are not.
Darken the overall tone of the ear. It's on the shadow side of the head. It's not going to be as influenced by reflected light from the veil as you might think. Also, have another look at the shapes within the ear, which right now are somewhat awkwardly represented by two virtually concentric circles. You're right to simplify, but the actual shapes likely have more nuance.
The center of the chin seems a bit to the viewer's left of where it belongs. In this pose, we'd expect it to wind up in fact favouring the other side. (Draw a vertical line from top to bottom of an egg -- tilt the egg and turn it slightly away from you -- see how the nose and mouth area turn away from you faster than the chin area? You may not want to be caught doing this. Scramble the egg and serve with Tobasco.)
Keep it up.
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