In this article, in Cahit Uçuk's novel Hep Yarın, the life imposed by daily life on women and how this is handled through a story of womanhood is presented. The novel is handled through two aspects of everyday life, which Henri Lefebvre describes as the misery and greatness of daily life, and Carl Gustav Jung's archetypal approach is used to explain the various identities that arise while describing these two aspects. The most important feature of the work in question is that Nevbahar, the protagonist, does not give up her femininity and desires while she is overwhelmed by the necessities of daily life, she novelizes her life by telling a woman writer, and thus changing the uniform life in which she lives by passing from the misery wing of daily life to the greatness of daily life. In this respect, in the narration of Nevbahar's story of womanhood, the misery of daily life was first included, and the social masks worn by the character were examined in two categories. Secondly, the discovery of Nevbahar's femininity, which sets an example for this naming by emphasizing the magnitude of daily life, within the framework of her relationship with the three men who have entered her life; Nevbahar's connection with art is discussed in terms of dealing with a branch of art and novelizing his life, and the study is completed.