Atwood includes two major protagonists, John and Mary, and three minor characters, Madge, James, and Fred. The author shows readers and budding writers how intrinsically linked character and plot development are to one another in order to enforce the main point of the story: every piece of writing which explores interpersonal relationships will end in death. Specifically, in this quintessential piece of metafiction, Atwood’s development of her characters is vital to a compelling, refined plot. While Margaret Atwood’s short story “Happy Endings” is primarily concerned with providing instruction regarding the formulation and importance of plot versus a story’s conclusion, the passage also offers insight regarding character development. The compelling parts of a story are the plot and, by extension, character development. The close of a story, therefore, is not intriguing.
The primary goal of “Happy Endings” is to show that all stories dealing with the dynamics of interpersonal relationships will end in a similar fashion: the death of all the characters. With regard to “Happy Endings,” Atwood uses Mary to show a type of character (a static protagonist) and to highlight a stereotype (that of female characters) prevalent in various stories. A story in which the characters are diverse, dynamic, and interesting only work to enrich the plot. Atwood illustrates this in her use of several different characters in several different scenarios which escalate in detail. Further, the ways in which a character is described can certainly reflect the plot’s development. A major component of the development of a story is the creation and evolution of characters. Ultimately, the story concludes that the “what” is not nearly as important as the “How and Why.This essay explores the purpose of the character development of Mary in Margaret Atwood’s short story “Happy Endings.” The story is a work of metafiction and provides commentary on traditional storycrafting methods. The various plot iterations throughout the story illustrates the ways in which the elements of a story, when broken down into discrete units, are often so interchangeable with one another as to be virtually meaningless. In scenario F, the narrator attempts to complicate things further by imagining John and Mary as spies and counterrevolutionaries, but concludes that the endings of all of the stories are all ultimately the same.Īt the end of “Happy Endings,” Atwood meditates on the nature of plot and story, arguing that plot is ultimately less interesting than other aspects of storytelling.
In scenario D, Fred and Madge brave a tidal wave, while in scenario E, Fred and Madge deal with illnesses such as heart disease and cancer. At the conclusion of the story, Madge remarries to a man named Fred and everything continues as in A. When John walks in on Mary and James having sex, he kills them and commits suicide. Since James is often away, Mary also engages in a relationship with John, who in this scenario is much older and already married to Madge. In scenario C, Mary is in love with James, an independent and adventurous young man with a motorcycle and record collection. John marries Madge and everything continues as in A. When Mary finds out that John is seeing another woman, Madge, she commits suicide. While Mary attempts to woo him with carefully prepared meals, her impeccable appearance, and sex, John remains unsatisfied and treats her poorly. In scenario B, Mary falls in love and attempts to pursue a romantic relationship with John, who is noncommittal and uninterested. In scenario A, John and Mary marry, buy a house, have children, and generally achieve a “happy ending.” What happens next?” The story then proceeds through various plot iterations, describing different ways in which the tale might end.
Atwood begins the story with a simple setup: “John and Mary meet.
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