Study Colour Management.
Find and worship "CMYK 2.0 by Rick McCleary." I use it as my course text.
Tip: What you should be trying to do is to get your screen to look like the print.
Begin by making your studio viewing conditions graphics-industry standard and stable. Block out all sources of variable illumination (windows). All illumination should be the correct colour temperature (5000°K), the correct brightness (500 lux - at the desk surface) without glare in a neutral background. Tape all switches and light sources so they don't change.
Profile your printer. Calibrate it. Find and print a standard IT-8 test image on standard paper without brighteners. Consult your printer (the thing) literature for the recommended printer-paper stock number.
Calibrate your monitor and adjust the gamma to recommended values. Display the test image on your monitor and adjust your monitor to match the print. Shield the monitor from the light spill you use to examine the print. Ideally, the print is in its own viewing area near the monitor. Shield the monitor from the viewing area lighting.
Now, you can begin to zero in on creating your miracle.
Compare the two standard images. They should match favourably.
The subject of how closely they match is a vital issue that I can't deal with here; but, there are test targets to help you determine how closely hues must match. The more closely you want your work to match reality will be a cost issue as there is expensive technology available to help you with proportionate expense to accuracy
The reason you must go to all this trouble is that printed (reflection copy) has a much more limited gamut, brightness, and contrast than any projected image. You must "cripple" your monitor to get them to match. It is a specialty shared by the photographer, graphic artist, pre-press service, and the print house.