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As always, I like to see the reference before critiquing a painting. Can you post it?
Just from what I can see so far, though, you might want to check the drawing here and there (eyes, as Steven mentions, and the direction the nose is pointing, etc.) Also there seem to be some very saturated slashes on the right cheek (from our point of view).
As Chris points out, painting is not a race. If you're timing yourself in order to keep your work looking spontaneous here's another possible way to approach that. John Singer Sargent was known to hold his brush in mid-air for a very long time, looking and thinking. Then he would place his strokes confidently.
The slow planning and the quick, deft brushstrokes are, I think, what gives his work the freshness it has, but also allows it to be perfectly accurate. (And, of course, we don't know how many brush-strokes he wiped off, or how many layers of paint there are underneath, until he got it right!)
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