The focal length of your camera is inappropriate, unfortunately, which is why several folks have mentioned perspective issues - you've got perspective distortion as a result of focal length / lens choice - you need to adjust that first and foremost to get a more believable "read" from your image.
Note: most architectural / interiors clients (architects and interior designers) want to tell the whole story through one rendered image (both to save money and due to their own internal beliefs based on learning to hand-render and how time consuming it is) and so push for inappropriately wide camera angles. This is almost always a mistake.
Instead, set for a realistic camera FOV, and compose your POV as a vignette - assume you will allow elements to bleed off the image, to not be complete and unbroken. Instead, make interesting negative space shapes to aid in composition - compose the whole image using the rule of thirds or Fibbonaci numbers, the Golden Ratio whether expressed as rectangles, spirals or both. Especially true with interiors, be sure to place your camera's station point such to get eye height to be pretty close to a human-expectable standard - most people find it extremely disorienting to be in an interior, with no clear support other than the floor, and yet have the subconscious eye height set to 9'-6" - they can't "read" the image correctly.
Added to this, you have your camera pointing downwards versus mostly horizontally, resulting in an unnatural experience of the horizonline, and adding an uncomfortable perspective force to the verticals of the bed and the wall corner intersections - all over-emphasised due to your camera's downward view angle. Most of the time, architectural visualisations tend to reserve "bird's-eye perspective" (with the focal point far below the eye/camera station point, and the horizontal vanishing points off-image, and the vertical vanishing point beneath the floor and so darn close) like this for exterior views, and specifically exterior of multi-story high-rise - because in that brief, you actually want to over-emphasise the verticals, and that taut sense one gets of them receding vertiginously away from the viewer - to drive home the "wow this building's tall and we're just a tiny, flying spec compared to it" feeling - but it's really out-of-place in an interior, and especially an interior of a small room. Makes it seem the viewer is in a fever-dream.
Only after you reconceptualise the camera setup, POV and image layout, then you can look at the myriad other technical issues everyone has noted.
I will restrict my response here to the highest priority of those: lighting overall, and attendant with that shading / shadow-casting. Your lighting solution seems really poor - I note that though your lampshades "glow", it doesn't seem like that light is adding to the GI at the wall or the dressers on which those lamps sit. Further, if you are using GI, you're cutting it off at far too few bounces (in interiors one tends to use far higher bounce counts than exteriors) resulting in a flat and too-dark image. If the recessed cans in the ceiling are throwing enough light to impact the walls the way they are, why is the ceiling not only dark of base colour, but not catching reflected light from the illuminated walls nearby? Too few bounces - or inappropriate light linking. The lack of proper cast shadows under items is deeply disturbing to the viewer, who must either conclude these items added after the fact or that this image shows all the worst sins of poor CG with none of the benefits - you're forcing them to perceive your image as being in the uncanny valley. Also your background environment image should be part of an IBL approach, but right now I see no sign that there's any light being cast from outside the window into your scene - adds to the uncanny experience I'm afraid.
I think it's important to remember that even with the most amazing tools in the world, it's still a good exercise to consider your task/goals/brief first through lower-tech rubrics to inform your design decision-making: think firstly like an illustrator, and set up as though you were hand-illustrating a perspective vignette - this will aide in compositionally-humane thinking; think secondarily like an SLR photographer - set up your camera as though you were photographing this scene for a swanky hotelier client's major advertising campaign. I'd literally do a few hand-sketches of layouts prior to anything else - this will, I think, lead to you improving the floorplan of your room some, and for example, moving that mirror further towards the window so it's less scene-dominant. Remember, though you don't need to tell the whole story in one image, the images should feel narrative in some way - that's not just about adding clutter - it's about the image having something to say.