Pete Wright is a podcaster, author, and co-founder of TruStory FM. He's been behind a microphone for over thirty years and has logged thousands of episodes across three dozen shows covering film, ADHD, creative process, and the craft of storytelling. He spent fifteen years teaching graduate students and has consulted on brand communications for organizations ranging from global brands to one-person shops. His debut science fiction novella, Lattice, was published in 2026. He lives in Portland, Oregon.
Pete has hosted as well as been a panelist on a number of episodes.
This page features episodes on which he has been a host.
See episodes where Pete has been a panelist right here.
It’s true, if you’re struggling with getting organized and you’re living with ADHD, there’s likely a key challenge holding you back. It lurks there, in the back of your mind, an invisible standard to which you will never live up.
Movies We Like is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favorite films, Guy Ritchie’s crime comedy thriller from the year 2000, “Snatch!”
When New Line Cinema bought Shane Black’s spec script “The Long Kiss Goodnight” in 1994 for $4 million, it created a new record for the selling price of spec scripts for more than 10 years until 2005 when Terry Rossio’s and Bill Marsilii’s script “Déjà Vu” sold for $5 million. While Black walked away with a hefty paycheck, he had no idea that this sale and the subsequent underwhelming performance of the resulting movie would have a hand in the end of the halcyon days of spec script sales. The way that studios saw screenwriters changed. The way they approached projects changed. Some say the industry has changed for the better, some say for the worse. Whichever side you fall on the issue, Black found himself struggling to get work afterward. Join us – Pete Wright and Andy Nelson – as we continue our Shane Black series with Renny Harlin’s 1996 film “The Long Kiss Goodnight.”
We all have repetition in our lives. But until you stop and think about all the things that repeat around you, you may not know what you’re missing. So, it’s through the lens of task lists that we’re going to talk about some of the options for using techn
When Shane Black was paid $1.75 million for his spec script “The Last Boy Scout,” it was the most any screenwriter had been paid for their script up to that point. It wouldn’t take long before that record was broken, but the bar had been set – and more importantly, the expectations – for what Shane Black the screenwriter could deliver. Unfortunately, the production was riddled with problems and the film struggled to make its money back. It didn’t kill Black’s career, but it may have signaled the beginning of the end for the spec script boom happening in the early 90s. Join us – Pete Wright and Andy Nelson – as we continue our Shane Black series with Tony Scott’s 1991 action extravaganza “The Last Boy Scout.”
We’ve had some great questions and feedback on our last few episodes around ideal schedules. This week, we’re taking this concept a bit further.
How do you get people to engage in a conversation around failure? According to our guest, “you can see in organizations where iteration and the failure that might come with it is accepted as something that can be positive, and something that can help us get to the destination we’re trying to get to.” Creating a culture of iteration, and adapting toward a state in which you see failure as growth is a challenge, but one worth taking. SVP of First American Education Finance Chad Wiedenhofer joins us today to talk about iteration and growth.
Movies We Like is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about one of his favorites, Daryl Duke’s Canadian bank heist thriller from 1978, “The Silent Partner.”
Shortly after graduating from UCLA, Shane Black sold his first screenplay to Warner Bros. to the tune of $250,000. That script was “Lethal Weapon.” Black didn’t know it at the time, but he was on his way to changing the way Hollywood thought about big blockbuster action films and about screenwriters as well. Join us – Pete Wright and Andy Nelson – as we kick off our Shane Black series with Richard Donner’s 1987 film “Lethal Weapon.”
Today on the show we’re digging into just one aspect of the book “Essentialism: The Disciplined Pursuit of Less” by Greg Mckeown: Priority.