Top 15 Robert Fritz Quotes

If you limit your choice only to what seems possible or reasonable, you disconnect yourself from what you truly want, and all that is left is a compromise.

The human spirit will not invest itself in a compromise.

Creators understand that their emotions are not necessarily a sign of the circumstances. They understand that in desperate circumstances they may experience joy, and in jubilant circumstances they may feel regret. They know that any emotion will change. But because emotions are not the centerpiece of their lives, they do not pander to them. They create what they create, not in reaction to their emotions but independent of them. On days filled with the depths of despair, they can create. On days filled with the heights of joy, they can create.

If you limit your choice to only what seems possible or reasonable, you disconnect yourself form what you truly want, and all that is left is a compromise.

Creating is no problem - problem solving is not creating.

You are like a river. You go through life taking the path of least resistance. We all do — all human beings and all of nature. It is important to know that. You may try to change the direction of your own flow in certain areas of your life — your eating habits, the way you work, the way you relate to others, the way you treat yourself, the attitudes you have about life. And you may even succeed for a time. But eventually you will find you return to your original behavior and attitudes. This is because your life is determined, insofar as it is a law of nature for you to take the path of least resistance.

Hector Berlioz’s witty comment, “Time is the great teacher, but unfortunately it kills all of its students.

In the creative process you do not make choices about what you do not want. You make choices about what you do want.

"Some people choose "to go to college" rather than choose "to be educated", or choose "to eat health foods" rather than choose "to be healthy." Because this kind of choice invests undue power in the process, the result is inextricably tied to the process, and the ways in which the desired result can come about are limited."

In the orientation of the creative, once you have consciously made the choice to be healthy and you are attracted to eating certain foods and following certain forms of exercise, you are involved in an organic process. The structural tendency of this organic process is for you to be attracted to those processes that will be particularly beneficial to your health. Those processes might include the usual, expected ones, such as health food and exercise, as well as unexpected ones.

Faith was the excuse you used if you didn't have a good argument.

Secondary choices are always subordinate to a primary choice. Often there is no reason to make such choices outside the context of the primary choice that calls for them.

Athletes and musicians may not enjoy practicing long hours, but they do so just the same; not out of duty, obligation, or any other form of self-manipulation, but because they are making secondary choices consistent with their primary choice to be able to perform music or excel at sports.

If the creative process is so powerful, it would be natural to wonder why many artists have difficulties in their lives. It is because they do not know what they know.

There’s nothing like surrounding yourself with people who actually like you just the way you are–people who are not trying to improve you, change you, manipulate you, save you, etc. There is a line. On one side of the line are those who will give you the news–good, bad, and indifferent. They care about you and your success. On the other side of the line are those who do not actually care about you and have motives other than true support.

As adults, we create myths about ourselves and about our lives. We often use the myth to organize reality into a type of order. Anything that might contradict the myth seems to bring disorder that can feel disorienting. The myth forms a bias and matrix against which the person’s life experiences are evaluated. The sense of myth is often in sharp contrast to the macrostructural patterns that dominate our lives. The myths are often about the details of the events that happened, including who did what to whom. The pattern shows that the details are not causal but only orchestrative. If we describe the details, we see the uniqueness of the events that have taken place, and the story can seem like a one time deal. But if we describe the form and sequence of events, the critical moments, etc., we see how un-unique the story actually is. We can see that, yet again, the same damn thing has happened.