So, I think that no matter how long or short your lines are, you should still be aiming to draw as much as you can from the shoulder, particularly for the first few lessons. Reason being is that it will help develop certain muscles. Rather than doing what the most easiest option is for you such as drawing from the wrist, you should be doing what is most effective overall. At least attempt to draw from the shoulder whenever you can, even if it becomes tiresome, and even if you don't achieve accuracy right away. Just aim for smooth curves.

Anyway, here are my main critiques for this lesson:

For the superimposed lines, you seem to be focused too heavily on accuracy. While it's good to ensure that your lines don't fray at both ends, you should never sacrifice your smoothness. Accuracy is something that will develop over time, so don't worry too much about that if you can't get it first time round. Have confidence in your drawings, even if your lines end up way off. This should be your biggest priority.

For Ghosted Lines, I can see some subtle wobbles in your lines - not all of them, but a few. Again, accuracy is not the focus of this exercise. To achieve confidence, there must be preparation involved. This means taking the time to position your pen at the start of each line. Make sure you begin drawing each line precisely at the point you intend on starting at. Not having done so means you are rushing. This is similar to the Superimposed exercise, where lines should not be fraying on both sides.

For Ghosted Planes, again, aim for confidence in your lines. This exercise is very similar to Ghosted Lines, but just applied in slightly more context.

For Tables of Ellipses, your ellipses are too wobbly. Wobbly lines can really stiffen up a drawing, so don't get into a habit of using them unintentionally. When you draw your ellipses, it's better to draw through them two times than three times.

For Ellipses in Planes, most of your ellipses are deformed. Maintaining smooth and confident lines should be a priority over anything else. Yes, these planes can be awkward shapes to fit an ellipse in, but that's the point of the exercise - to force yourself to focus on confidence more than accuracy. It doesn't mean you shouldn't strive to fit your ellipses perfectly inside - though, it should not be the focus.

For Funnels, most of your ellipses seem aligned to the minor axis. Some were slanted, but it appears as if you were trying to avoid this mistake (hopefully). Also, try to extend your straight lines all the way out (or equivalently, make your ellipses stop just before they pass the ends of each line). Definitely work on getting smooth ellipses next time.

For Plotted Perspective, you seem to have understood the main goal of this exercise. Just be careful when adding weight thickness to your lines. If you do add weight thickness, make the silhouette thicker than the internal lines that face the viewer, and similarly, make the internal lines that face the viewer be thicker than the internal lines facing away from the viewer, if you do decide to add some there. When adding weight to the silhouette, make its thickness for each line subtly different than one another. Also, weight thickness is good for clarifying what forms overlap another. Use that to your advantage if necessary. In addition, make sure to extend the lines all the way to their vanishing points.

For Rotated Boxes, perspective is quite off, but that's not the focus for this exercise. Using appropriate line weight is important too. When drawing hatching lines (or any other lines), keep them smooth, and take your time when positioning your pen at the start of each line. Don't have them floating around in the middle of the box's face it's on. Get one side (the starting side) to touch an edge. The fact that the gaps tend to be consistent and that your boxes do seem to rotate correctly enough suggests that you have been using neighboring forms as hints to where you place each object.

For Organic Perspective, again, aim for confidence and smoothness in your line work. Also, play around with overlapping forms more. Use line weight to clarify which box is in front of which. Finally, you may want to include some large boxes which are right at the very front, even if it's drawn only partially. This kind of framing often helps lead a viewer's eye more into the image.

The two pages of the Rough Perspective exercise seem to be missing.

Finally, make sure you read and understand thoroughly the purpose for each exercise. It will help you to get a better sense of the short-term goals you are trying to achieve for each one. Also, make sure to read instructions very carefully. Watch both the video and read the text. Doing just one of the two isn't good enough.