Speedlines and motion-blur helps, but when it comes to depicting the motion of things, you need to consider stuff like dynamic poses and body-language as well.
To that your first example, @El_Psy_Congroo - the big centipede-beast is throwing your character to the right. However, your character while in mid-air looks as if he's, well, out for an enthusiastic stroll. There's nothing about his pose that says "I'm being hurled through the air and I really don't like it".
If he's being thrown, his pose and body-language should communicate that that is what's happening, even if you're going for a more comedic angle than a serious one.
Here, I did a quick and dirty draw-over of how you could have repositioned them - remember, with motion, exaggeration is your friend!
Exaggerate the curve on the centipede creature, and draw the character being thrown actually being affected by being thrown.
ALso, in your second example, with the swords being drawn? Instead of writing "draw" above both hands - show the blades being halfway out of the sheaths, and turn the "draw" into an actual sound-effect - like maybe "shhhhing" or "shhhhkt" or something!
And here's another draw-over of your latest example sequence:
I exaggerated the girl's pose more, making her lean into her motion a lot more. Probably not a lot of people run with their legs drawn up that close to their body - but it makes it look more like she's running. Also, I made her hair blow in the wind a bit, and stretched her arms out backwards a bit more. She's holding those swords - they can be used to lengthen the visual line of her arms, to exaggerate the motion of them even more.
Also, I drew the person in the back in a more dynamic pose, as though they are actually reacting to the miraculous dodge of the giant monster - in your original version, they're just sort of... standing around? If I was looking at a giant monster, I wouldn't be doing it as though I was posing for a photograph, you know?
Comics are a static visual medium, not an animated one, but a lot of similar rules apply.
Exaggerate stuff
If you draw someone running and leaning forward as they do it, have them really lean into it. Like, almost bent double. If someone is throwing a punch, make sure they've got the weight of their entire body behind it. If they're falling, have them brace visibly for impact.
Exaggerate angles, too! If someone is falling from a high place, don't just draw them from the side - draw them from below, or from above, at more extreme angles to really amp up the impact of what is happening.
Curved lines are your friends
The line of action has been mentioned already, and I promise, that one is really helpful. When you sketch a pose, curve it. Compose the panel in such a way that you lead the reader's eye through the curve of motion.
Even when standing still, people are not mannequins
There is dynamism to be found even in static poses. Hardly anyone just stands with their feet a shoulder-width apart and their arms straight down at their sides. Most of us fold our arms, or place our hands on our hips - or in our pockets - or lean our weight on one leg or the other, stand up very straight or slump a little because we have either good or bad posture, etc.
Motion has an effect on materials
Clothes flap in the wind! Hair does too! If someone is running hell for leather in some direction, you can bet that if they've got long hair, it will be streaming behind them. If they're wearing a scarf or a skirt or some other flowing material, that material is going to be affected by the wind, the motion and the air-pressure. It's going to bunch up, it's going to flow out behind them, etc., etc. Use all these little things to amplify the sense of motion in your art.