Three things comes to mind...
1. Take the shot from a lower angle, the looking down on her face look is not so flattering.
2. Retouching the blemished and imperfections on her skin away heal brush or frequency separation.
3. A bit of dodge and burn would add more contrasts and definition to her face.
Back up a bit. Unless you've got captivating eyes and striking red hair, it helps to have a little environment and context in your images. She looks like my daughter, who will now strike a serious or goofy pose every time she walks through my studio, in case I point a camera at her.
Good point of view with strong eye contact, which works well. For black and white to work well generally you will need more light and shade, contrast. Flat or dull light will rarely look great in monchrome, so you have a slight problem here because the light is low contrast. The image is OK but a bit dull. Her eyes are pin sharp. It is always important to have at least the most noticable eye sharp but especially so in black and white. I find the high contrast clothing distracting from the low contrast face. It is important to make sure everything in a portrait is there for a reason and that everything adds to the image. In that vane, it would be helpful to remove the stray hairs, especially the one across the eye, but they are far from being a big problem. If you can shoot in less bright light your subjects eyes will dilate and this tends to look better than stopped down pupils. This is a basic mistake almost every one makes when they first use studio type flash for portraits. Yes it is easier to focus, but not a good idea and focussing is not that more difficult with very much reduced modelling light. I realise this is not a studio flash shot but I mention it because I was discussing dilated eyes being best but not the first thing one thinks about when designing a portrait.
Three things comes to mind...
1. Take the shot from a lower angle, the looking down on her face look is not so flattering.
2. Retouching the blemished and imperfections on her skin away heal brush or frequency separation.
3. A bit of dodge and burn would add more contrasts and definition to her face.
Back up a bit. Unless you've got captivating eyes and striking red hair, it helps to have a little environment and context in your images. She looks like my daughter, who will now strike a serious or goofy pose every time she walks through my studio, in case I point a camera at her.
Good point of view with strong eye contact, which works well. For black and white to work well generally you will need more light and shade, contrast. Flat or dull light will rarely look great in monchrome, so you have a slight problem here because the light is low contrast. The image is OK but a bit dull. Her eyes are pin sharp. It is always important to have at least the most noticable eye sharp but especially so in black and white. I find the high contrast clothing distracting from the low contrast face. It is important to make sure everything in a portrait is there for a reason and that everything adds to the image. In that vane, it would be helpful to remove the stray hairs, especially the one across the eye, but they are far from being a big problem. If you can shoot in less bright light your subjects eyes will dilate and this tends to look better than stopped down pupils. This is a basic mistake almost every one makes when they first use studio type flash for portraits. Yes it is easier to focus, but not a good idea and focussing is not that more difficult with very much reduced modelling light. I realise this is not a studio flash shot but I mention it because I was discussing dilated eyes being best but not the first thing one thinks about when designing a portrait.
The crop is too tight for me, but otherwise a really nice shot. Everyone else already touched on some great advice that I'm learning from myself.