Starting with your arrows, these are generally looking pretty good. You've drawn them with confidence, and have for the most part done a good job of capturing how they flow through space with a good deal of fluidity. That fluidity is something that carries over into your leaves fairly well, capturing not only how they individually sit in space, but also how they move through the space they occupy.

It does however appear that there were fairly limited attempts to add edge detail, and the main one I can see appears to use a single continuous line, zigzagging back and forth (specifically as seen here). This is something I talk about in the instructions - as explained here you should not be drawing your edge detail as a single continuous stroke, and should not be attempting to fully replace the existing edge. You should instead add individual bumps/cuts/spikes, one at a time, coming off the existing edge and returning to it. That's how we hold to the third principle of markmaking from lesson 1.

Additionally, remember the principles from lesson 2's texture section. I can see that in a few of these, you tried to draw the veins as forms (drawing on either side of them rather than just drawing the veins themselves as lines. This is definitely more correct - but even then, try not to just put lines down. When drawing your textures, always purposely stick to drawing actual cast shadow shapes. You can use this two step process to force yourself to think in terms of shapes, always relating them back to the forms that cast them. When we draw individual strokes, we have a tendency more to think in terms of drawing outlines, and artificially breaking them up.

Continuing onto your branches, here unfortunately we're running into some issues. The main one is that you're drawing these really small, and as a result the linework is pretty clumsy. When we draw smaller, cramming everything into a tiny space, it tends to limit our brain's capacity for spatial reasoning, while also making it way harder for us to engage our whole arm while drawing. It's important to draw big to counteract these effects. Furthermore, you also don't appear to be drawing through your ellipses. And lastly, this exercise is about learning how to take a longer more complex line and break it into separate segments, having them flow more smoothly and seamlessly together through overlapping. You don't appear to have done that at all in your attempts, which suggests that you didn't actually follow the instructions.

Moving onto your plant constructions, your work here has its ups and downs. With drawings like this one you're demonstrating an excellent fluidity with the petals, and overall structure. Remember though that there shouldn't be any gaps between the end of the flow line and the tip of the petal. The flow line defines the petal or leaf from tip to tip. That's really at the heart of construction - every phase or step gives an answer to a question. Once given, we need to maintain consistency, rather than redefining that answer at every turn. So once that flow line asserts the length of the overall leaf or petal, stick to it.

One considerable issue with this pitcher plant is simply all the wobbling to the linework. Having the width of the form behave so inconsistently introduces complexity to the structure, which in turn undermines the overall illusion that we're looking at a solid form. If this was an accurate representation, then it'd be better to first construct it as a simpler form with a more gradual shift from narrow to wide, then build up additional forms around it to add bulk where necessary. Jumping right into that level of complexity simply causes the form to fall flat early on. We can see the same principle at play as well with the wavy line around its opening, where you captured the complexity of those leaf-like structures. As discussed before, this continuous zigzagging stroke has the same issue - it's just too complex, too soon. Better to construct a simple silhouette, then build complexity onto it.

With this one it seems you were probably trying to follow along with the potato plant demo, but for whatever reason, gave up half way. Regardless of the reasoning, you should strive to push every drawing to completion. While that is left somewhat up to interpretation when they're your own references, when drawing along with a demonstration, there is no reason not to push it all the way to the last step.

One last thing I want to call out is the fact that your linework does often feel kind of heavy. This suggests to me that you might be pressing too hard on your pen. Ease up on that pressure. Sometimes students press too hard because they're otherwise forcing their hand to hover over the page (pressing harder can provide some stability). Instead, it's perfectly okay to rest your hand gently against the page, as explained here, for added stability.

While overall I do feel you're moving in the right direction, I'd like to give you the opportunity to fix some of the issues I pointed out here.