The Secret to Happiness
Early in The Great Gatsby, several pages are spent showing us Gatsby's grand mansion and describing how it glows through the night with his fabulous parties in and around his place and his pool. It's OK, but we don't need that much of it, if that's all there is to it. But, in fiction, happiness is a setup. We open with the wonderful, glowing Gatsby mansion. We close with the mansion darkened and Gatsby floating facedown in his swimming pool. If things are going to get better, they can't do so until the end. That brings us to another important point.
Aristotle said in The Poetics that the length of a drama should be such that the hero passes by a series of probable or necessary stages from misfortune to happiness, or from happiness to misfortune. Twenty-three centuries later, Egri says the same thing when he insists that a character should grow from pole to pole. A coward becomes brave, a lover becomes an enemy, a saint becomes a sinner this is growth from pole to pole.
They must sound like they were composed by Confucius Success is relative. More success, more relatives. In truth, they're written by gag writers who knock off fifty improbable predictions, bits of sage advice, and witticisms a day Money not key to happiness, but unlocks interesting doors. Chinese restaurant managers even have their own gag line for customers who complain when the cookie is accidentally empty. Sara Wilson tells the story of the waiter who said to his customer, Ah, velly lucky. No news is good news.
At this point, you put yourself in your character's shoes and begin to give him a game plan. This is his response to whatever threatening change now faces him. He does not give up or whine he decides to do something to fix his plight. He sets out with a goal. He is committed. Attainment of his goal is essential to his happiness. Same thing, ultimately. Because whatever it is, it's essential to your character's happiness, and that character will not give up. He's determined he's going to try and try again. He's going to fight to maintain control of his life - and determine his own destiny.
One of the things people can learn most from studying Rosa's life is her will to live. She valued not only her own life, but the lives of all people. We can learn to have integrity, strength, hope, faith and love. She forgave her oppressors and brought them over to her side. We can learn to not let what others think control our lives or rob us of our happiness. Rosa was also proud and she wasn't going to let anyone take that away from her. That's how we should all be.
As you work through the Step by Step approach, you will find that you'll need time for reading and research at almost every step. This means a trip to the library, or an internet session on your computer, so be sure to plan enough time for those activities. Also, the whole process works best if you have time for reflection, thinking--time for you to put the project aside and sleep on it. If you possibly can, build these times into your schedule. Your paper will be a better product and you are likely to be happier with the whole process.
To put this another way If the stated scene goal is clearly relevant to the character's story goal, it will be vital to that character's happiness and the outcome of the story. If the scene goal is relevant in this way, readers will see how important the outcome of the scene is going to be and will worry about it.
In real life, only time will tell if our actions will ultimately achieve what we want and if that will bring us more happiness than hurt. In stories, it is the author who determines what is justified and what is not. Within the confines of the story, the author's view IS objective truth.
What's more, in this example, it is clear by the way we presented the conflict, Closure is seen as a better standard of value that Denial. It would be just as easy to have the doctor appear run-down by life and having no hope, while the patient is joyous. In such a case, the message would have been the reverse. The doctor, representing Closure, would be seen to be miserable, and the patient who lives in a dream world of Denial would have happiness.
This page is something else I do for love. Writing it brings me a lot of happiness, and so do the letters I get from readers telling me that something I've said has helped them. And this page helps me to focus on how I write, and helps me to remember why. Both of those things have kept me going through some rough spots.
The outcome of all this dramatization of motive, preparation for change, and depiction of story events is to replace a character's initial motivation with a different one. That is, the character started out wanting one thing and somewhere in the middle switches to wanting something else (which will prepare nicely for the ending). Sam starts out wanting to be left alone, uninvolved in his daughter's problems he might switch to wanting desperately to rescue Martha from self-destruction. Elizabeth Bennet starts out wanting to promote her sister Jane's happiness and to annoy Mr. Darcy she switches to wanting to marry Mr. Darcy.
Say we both see the classic The African Queen. You say the premise is Vengeance leads to true love and happiness and I say it's Answering the call to patriotism leads to victory. This doesn't mean that one of us is wrong. It is a desire for vengeance that leads Rosie to become suddenly patriotic and in the end Rosie and Charlie, the heroes, do have a victory, but they also end up being in true love
Oppenheim (1992) argues that the most important rule in writing rating scale statements is to make them meaningful and interesting to the respondents. As he points out, There are many attitude scales which falter because the items have been composed in the office according to some theoretical plan and fail to arouse much interest in the respondents (p. 179). The best items are the ones that sound like being taken from actual interviews, and Oppenheim encourages item writers not to refrain from using contentiously worded statements that include phrases relating to feelings, wishes, fears, and happiness.
You might lose your job, your friends or family, your children or your spouse. Your dream might cost you your health. Your happiness. Your life. Perhaps you think I exaggerate, but writers suffer from depression and die of suicide far out of proportion to our numbers. We have high divorce rates, far too many substance abusers, and as a group we are pathetically poor. I'm not saying that if you want to be a writer, you need to run out and get a divorce and take up heavy drinking. Far from it. A strong, stable relationship can get you through some desperate times. And only fools look for inspiration in the bottom of a bottle. What I am saying is that if you pursue your dream, some other parts of your life will fall by the wayside. You can't know what those parts will be yet. But if you persist, you will find out.
She lives there because Lucy Maud Montgomery created a young girl that spoke to her young audience. Anne was human enough to make me long to be her friend and to emulate her audacious pursuit of happiness. She was human enough to act stupidly, to contradict her own values, at times. As humans, we may be conditioned toward certain behaviors. We may be expected to follow certain patterns, and often we do. But life is richest, whether joyous or painful, in the moments when we shift from habit. I have noticed that people who stay in my life consistently surprise me, often because I cannot predict their behavior. They are consistently inconsistent.
Premise Finding a bag of money leads to perfect happiness. This premise is a shorthand way of saying This is the story of a guy who finds a bag of money, goes on the Tonight Show, becomes a spokesman for a dog food commercial, gets famous, turns into an arrogant jerk, loses his wife, is spotted kicking a dog and loses it all, and gets his wife and old job back and is perfectly happy. Stating the premise as Finding a bag of money leads to perfect happiness is a more concise and more eloquent way of saying the same thing.
Over the years, mankind has recognised the need for personal and social freedom, and this is perhaps one of the m important social advancements ever made. However, whether it has led to increased personal happiness is highly det able many people would argue that greater freedom has led to increased social disorder and personal dissatisfactioi To conclude, there is evidence both to support and refute the view that greater freedom does not necessarily le greater happiness. On the one hand, people have more opportunities to raise their standard of living. On the other t the many examples of protests, strikes and criminal activities which are a feature of modern society are a sign although people may be free, they are not necessarily happier.