Hey, this is cool! Love how you rendered her neck here, and the idea of the curtain symbolizing her blood is awesome. This painting has good bones! Can't wait to see the finished piece. You've got a great start, so if I may, I'll try to help you find some areas for improvement. Now to start, the composition is okay! It does feel a bit static in the posing, but overall the figures are presented clearly, and clarity is the main purpose of composition, so good job! You have a good balance between the lights and the darks, but I'm not seeing any focal points where you're giving the viewer a place to rest their eyes where you're also telling your story. Try to think of one main point of notable contrast and detail where you can concentrate the most attention (and give the biggest impact towards your storytelling), then one or two more points of lesser focus that balance out and serve the primary focus. This is easier said than done, but you can look up things like the golden mean and read Edgar Payne's ideas on composition if you wish to explore this topic further. He's mostly concerned with landscapes, but composition is universal. Also, I highly recommend picking up Andrew Loomis' book "Creative Illustration," which gives an exhaustive amount of information regarding the technical construction of a solid illustration. Anyway, speaking of serving the primary focus, the main idea is to use your shapes and lines to direct the viewer toward this spot of acute interest and not divert them away toward unimportant things, as well as keeping their attention on your painting and not sending them off the sides. Again, easier said than done. As it stands, this is probably the largest problem in your composition. Put your image into greyscale and look at the most obvious lines you have. Ride them with your eyes and see where you go. Is that where your story is supposed to be? To me, what I'm seeing as the most powerful lines of motion are the folds in the curtains (which lead my eye off the canvas, bad). It's okay to have framing elements go off the edges of your canvas, but when they are primary lines and integral shapes, try to avoid having them on the edges or, worse, pointed towards or placed within the corners. This is a good way to get your viewer's eye to leave the picture. The other lines that pull my attention the most are the outline of her chest and the whole shape of the arm, going toward and ending at the highlight on her forearm (which angles towards the vampire's face, good, but is too strong so it distracts). Again, is this where you intend to have your viewer's focus? So... this is tricky stuff and very advanced. Don't get discouraged. You're on the right path. I'm no expert myself, but you should definitely look up people who are. Go back and look at images from your favorite artists that tell a similar story. Golden Age illustrators and comic artists are some of the greatest at this sort of visual storytelling. Study the compositions you want to emulate and try to incorporate what you like into your own work. It's a process, but with repetition you'll get better and better. Good luck. Hope this helped. Keep me posted, I want to see what you come up with!