Marie Diamond

Marie Diamond is an internationally known Feng Shui master, teacher, and speaker, and one of the featured co-authors of The Secret. Her decisive significance lies in connecting the law of attraction to the visible organization of everyday life: the home, the images displayed in it, the space left or not left for another person, and the actions that silently announce what someone believes is possible. In Diamond’s account, surroundings do not merely decorate a life; they can expose its deepest assumptions and either support a wish or contradict it.

Identity and Professional Work

Marie Diamond had practiced Feng Shui for more than twenty years, refining knowledge she had received at an early age. Her work extended beyond private instruction. She advised Hollywood celebrities, major film directors and producers, music giants, and famous authors, helping well-known public figures create greater success across different areas of their lives. She also created Diamond Feng Shui, Diamond Dowsing, and Inner Diamond Feng Shui, methods intended to bridge the law of attraction with an individual’s environment.

The book presents Diamond among the teachers whose wisdom, love, and divinity are acknowledged in connection with The Secret. Her contribution is therefore both professional and interpretive. She does not treat Feng Shui as an isolated arrangement of objects, but as a way of reading the relationship between inner thought and outer form. The environment becomes evidence: a person may say one thing, desire another, and still reveal a third intention through the spaces and images maintained around them.

The Film Producer’s Contradictory Home

Diamond illustrates this principle through a visit to the home of an art director and very famous film producer. In every corner she found the same beautiful image: a naked woman draped with fabric and turning away as if saying, “I don’t see you.” The repetition mattered. The image was not an incidental decoration but a pattern occupying seven places in the home, making the producer’s surroundings a sustained visual statement about distance and unavailable intimacy.

Diamond told him that he might have trouble in romance. When he asked whether she was clairvoyant, she answered that the evidence was visible in the repeated picture. He explained that he loved that kind of painting and had painted it himself. For Diamond, that admission made the contradiction more serious, because he had placed his own creativity and attention into the image. The home was not passively reflecting his circumstances; it was actively embodying an inner picture.

The producer was a gorgeous-looking man surrounded by actresses through his work, yet he had no romance. When Diamond asked what he wanted, he said that he wanted to date three women a week. She instructed him to paint himself with three women and hang the image in every corner of his living space. The recommendation changed the environment from a repeated picture of women turning away to a deliberate representation of the relationship pattern he claimed to desire.

Six months later, Diamond asked about his love life. He told her that it was great: women called him, wanted to date him, and were fighting over him. He now had three dates a week after years without a date. The narrative presents this reversal as the consequence of changing the image through which he organized his surroundings and attention.

From Dating to Marriage

The producer’s desire changed after the first result. He told Diamond that he no longer wanted only a succession of dates; he wanted stability, marriage, and romance. Diamond gave him the same practical instruction in a new form: if that was what he wanted, he should paint it. He created a picture of a beautiful romantic relationship. A year later he was married and very happy.

This second stage is important because Diamond’s example is not limited to obtaining an initial wish. The producer alters the image when the desired outcome alters. First, he represents frequent dating; later, he represents a stable romantic relationship. His environment therefore becomes part of an ongoing creative process rather than a fixed charm or one-time ritual. Each picture is meant to express the desire he is prepared to receive at that stage.

Diamond explains the earlier failure by distinguishing between a spoken wish and an embodied one. The producer had wished for romance for years, but his wish could not manifest because the outer level of his life—his house—was continually contradicting it. The paintings showed women turning away, while his words claimed that he wanted women to approach. The conflict between those messages is the central mechanism of the anecdote.

Thought, Action, and Environmental Evidence

Diamond’s teaching gives special weight to action. Thoughts create the words people speak, the feelings they experience, and the actions they take; actions are especially powerful because they are thoughts that have caused a person to move. People may not recognize their innermost thoughts directly, but they can inspect what they have repeatedly done and arranged. In that sense, conduct and surroundings function as a record of beliefs that conscious speech may conceal.

The film producer’s paintings make this hidden layer visible. His stated wish was to date more women, but the images he repeatedly produced showed women turning away from him. The book asks the reader to understand that his innermost thought was expressed more clearly by his creative acts than by his verbal declaration. Once he deliberately changed those acts, he concentrated his thought on the desired result and, within the book’s account of the law of attraction, painted that result into existence.

Diamond consequently advises that actions should not contradict desires. The principle extends beyond painting. In the related example attributed to Mike Dooley, a woman wanted to attract her perfect partner, made a detailed list of his qualities, and visualized him in her life, yet no partner appeared. She then realized that her car was parked in the middle of her garage, leaving no room for another car. Her wardrobe was packed with clothes, leaving no room for another person’s clothes, and she slept in the middle of her bed rather than leaving a side for a partner. She cleaned the garage, moved clothes aside, and began sleeping on her own side of the bed. The concrete acts of making room express the same environmental alignment Diamond teaches.

Narrative and Thematic Significance

Diamond’s role in The Secret is to make an invisible doctrine legible through ordinary objects and spatial choices. A painting repeated seven times, a garage with only one car’s space, an overcrowded wardrobe, and the position occupied in a bed all become signs of expectation. The examples give material form to the claim that a person’s life is shaped not only by what is consciously requested but also by what repeated attention and action declare.

Her film-producer story also dramatizes a movement from contradiction to alignment. At first, the producer’s language points toward intimacy while his home points toward rejection. His first deliberate image produces a change from no dating to three dates a week; his second image accompanies a further change from casual abundance to marriage and happiness. The value shift is therefore relational and practical: romance moves from absence, to active availability, to stability.

Diamond’s emphasis on the home makes the law of attraction a form of self-reading. The environment is not treated as neutral background but as a visible extension of thought, and changing it becomes a way of changing attention. Her lasting narrative function is to translate the book’s broad promise that people are creators of their Universe into a sequence of observable choices: identify the contradiction, represent the desired condition, make physical room for it, and allow action to agree with belief.