By Sheila Bender

True Stories Well Told is having a little “takeover” by the team of Sheila Bender and Brenda Miller to promote their writing retreat in Lake Garda next September, which I’ll be attending. You too?
Where do poems come from? Where does engaging prose come from? What do we do when we want to write but don’t feel inspired? These are the writer’s questions.
We want to write, but a blank page or a blank screen is intimidating. How to start? How to find the real subject of what we might write in a free write? How to listen to our first words on a page and follow them to a next draft and a next, until we feel satisfied (perhaps with guidance from a good writing group) with what we have learned about our experience in a way we can reach another’s mind and heart directly through the senses (primary experience rather than thinking)?
I am sharing a poem I wrote at one of the times I had an urge to write but not a “topic.” I began to look at my hands. In the background of this looking was most likely that my son, who had died in a snowboarding accident years before and who I thought about daily, of course, was left-handed. And my mother was in her late 80s and also left-handed. And I felt the callous on my left hand where my ring had rubbed for years against an adjacent finger. I can tell you this now as I reread the poem. At the time of writing, I was merely suddenly fascinated with my left hand and how I would describe it. Hence, the title—since I am right-handed examining my left hand was a novelty.
Poem for My Left Hand, Usually Auxiliary
For this poem, it will be primary—
the handedness of my son, gone now 15 years,
and handedness of my mother still here at 89,
my love for her clearer, I was going to say,
each year, but at our ages, accelerating
by the hour is more accurate.
Wedding band, age spots, veins a bumpy path
to the galaxies at each of my knuckles
and then between the digits, valleys,
quiet, storing reserves and resources.
***
What did I learn from this poem? That I am living with the sadness life brings but also with a certain pleasure in knowing that I could and would be able to face losses as I age. I was accepting life and honoring love. Now as I read what seems like a simple poem, I also feel its depth, like it is about being wedded to life and mortality.
I couldn’t have known this at first as I explored my left hand.
I am sharing this to help writers see that close observation and exploration of how we feel in any one moment guides in choosing images that yield writing whether we are aware of what we are doing or not yet aware.
Try it—look at something tangible that you usually overlook. Allow your words to come. Later, listen to the way your words speak to you and trim, or expand, to make this conversation your writing introduced experiential (taken in through the senses), allowing the images that have arrived to do the work.
***

Brenda Miller and I will be teaching a writers’ workshop the last week in September in Lake Garda, Italy. Together we will help attendees listen to what they draft in freewriting and what they have already drafted for mining the writing toward evocation and discovery, and to become unstuck in stuck places. Take your writing to the next level whether you are new to writing or already published. For a video we made on how we teach and information about the workshop and meeting the group for travelling from Milan to Lake Garda, click here.
© 2026 Sheila Bender
Sheila Bender founded WritingItReal in 2002 to facilitate those who write from personal experience. Her current books include Writing Personal Essays: Sharing and Shaping Your Life Experience and Since Then: Poems and Short Prose. She enjoys her role as an instructor for Women on Writing and Il Chiostro as well as with Writing It Real. You can learn about her at WritingItReal.com and sheilabender.substack.com.











