@Kori-Jensen Maybe Nyrrryl has already sent you some feedback, so I might only echo some of her points, but if you're open to advise and critiques I'd love to throw a few observations in as well in the hope that they are helpful. I find myself much more motivated when there are clear actionable steps I know I can take - then you're never helpless when it comes to improving and working towards the future you want!
I can see you have a great sense of humour from your art and a lot of ideas, which I think are gonna be amazing one day. At the moment, they're not shining as well as they could be, and I think your portfolio is a really good and important place to sort out and make the very best.
- When we come onto your website, maybe the art could be centre-stage a bit earlier on. There's a lot of scrolling to find what I might be looking for were I an art director - quick links to the young-adult sections and your main portfolio would be useful. I think your art should be visible first thing when you click onto your site!
- I can see a lot of different styles going on in your work, which might really confuse potential employers. You have a few softer semi-realistic portraits, then you have comic-like images with really heavy lines, then there is the soft painterly ghost and a more poster-like image of ghosts in the woods. They don't feel super consistent, so picking a direction to stick with might make the whole thing feel more cohesive!

- Personally I'm not hugely sure the thick-line style is right for children's books. I've not seen a lot of it around and have an acquaintance that works in a very similar style, but his focus is definitely posters and comics of a more comical nature, like parodies, fanart, stuff to sell at conventions. I like your young-adult work, and wonder if maybe focusing on the slightly older age-group in your main work would suit your own interests a bit better.
As others have said it can be a slow road, and I really sympathize with discouragement. We all go through phases like it and those that eventually find success are the ones that just work right through it. I think those long-year estimates are partially due to the fact that some artists learn to draw at the same time as they want to start their careers, and improving their art takes up much of this time, more so than finding work. Others already draw at a professional level when they decide to become an illustrator, and find work a lot quicker.
I think at the moment it's important to measure your success by how good your art is getting over time, more so than by any jobs you might or might not be getting. You are hitting milestones, you might just not be seeing those victories for what they are if your mind is very set on jobs and publication.