THE ARCHITECTURE OF ESSAYS: TEMPLATES, CREATIVITY AND BUILDING BETTER STORIES
At the start of the semester, I didn’t fully understand what writing truly was. My essays followed a basic formula: an introduction with a hook and a thesis statement, body paragraphs that mechanically presented a topic sentence, a point, and an explanation, and a conclusion that simply restated the thesis and summarized the main points. Writing felt more like a checklist than a creative process. When I encountered, They Say / I Say: The Moves That Matter in Academic Writing by Gerald Graff and Cathy Birkenstein, their templates initially seemed helpful—a way to organize ideas by repeating established patterns. Over time, I began to see these templates as rigid structures that stifled my creativity, just like my old pattern. Like many students, I believed that “real” writing should flow naturally, unrestrained by predefined frameworks. Templates felt like an unoriginal crutch—a necessary evil rather than a tool to fully embrace. However, my perspective changed as Gerald Graff and Cathy Birkenstein claim that “After all, even the most creative forms of expression depend on established patterns and structures”(introduction,1). I discovered that writing is not about choosing between structure and creativity but instead using structure as a tool to support creativity. Templates offered by Birkenstein and Graff in They Say/I Say: The Moves That Matter in Academic Writing do not restrict creativity but instead empower writers like me to communicate clearly and enter conversations smoothly. I have learned that they provide foundations to organize ideas to produce stronger writing that reflects the author’s voice, which ultimately provides creativity.
Early in the semester, I struggled with presenting my ideas clearly and framing them from others’ perspectives. For example, in my second essay, I made an argument on how Hamid naturalizes migration, and I was able to make an argument by following advice: “Therefore, when it comes to constructing an argument (whether orally or in writing), we offer you the following advice: remember that you are entering a conversation and therefore need to start with ‘what others are saying,’ as the title of this chapter recommends, and then introduce your own ideas as a response”(Gerald,Cathy ,21).I was able to put forth an argument and use a template to express my stance. Hence, I saw the importance of templates and how they intersect with our creativity to bring about a touch of our voices.
“Nasia Anam contends that Hamid’s speculative use of magical doors reframes migration as an optimistic narrative of hope, potential, and transformation. But Yogita Goyal offers a more critical view, arguing that ‘Hamid naturalizes the fact of migration in a way that evacuates the specific historical experiences that generate it, rendering banal what must remain historical’. I align with her critique and believe the issue lies not with the doors themselves, but in the way Hamid introduces them as merely a single step, when in reality, a door represents much more—a journey that encompasses not just the moment of crossing, but everything that came before, the trials faced during, and the uncertain future that lies beyond. Migration is not a brief transition, but a path shaped by history, trauma, and the emotional toll that weighs differently for those who undertake it.”
Templates have helped me organize my ideas better and in a more understandable structure, allowing me to follow my own chain of thoughts and detangle the “web” of thoughts I often face when trying to write. Above is an excerpt from my second essay; it is a basic “They say” followed by an “I say.” Yet, it opens a door for me to introduce my voice and my thoughts on what I want to say. This is one of the ways the templates have complemented my writing style. In addition to that, the templates have helped me reduce my overthinking while writing, where I tend to think more than write, ending up with a web of thoughts.
In WRI 101, I applied these templates during editing and all the well-known “Shitty First Draft” by Anne Lamott, where she shows us how first drafts contribute to the application of templates. These templates provide a way for us to organize a “web of thoughts” into an organized chain of thoughts, providing context and a flow of ideas to both readers and writers. Austin Kleon reminds us that “What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original”. I realized that I found myself guilty of using these templates and intersecting them with my creativity, of which I also plead guilty from “stealing” from my tutorial partner to make writing both academic and “beautiful.”
Overall, this semester, I learned that nothing is ever original, and we pick from someone else, just like I picked up from my tutorial partner and integrated with the template. By engaging with scholars with different points of view, I engaged in conversations and gave out my point of view while allowing readers to follow up. Overall, I enjoyed the fact that I learned how to cite and, most importantly, join a conversation and provide a critical analysis and point of view using the templates. But I fully acknowledge that though I might have praised them throughout my essay, they still have a negative side that might lead writers to overdependence and to having works that are formulaic and sound like robots. As taught from the beginning, writing is not a one-time thing but a recursive process of several iterations and repetitions using templates until one’s creativity emerges.
Link to google doc: https://docs.google.com/document/d/1wRycsBsHQbCZ8saGiP582n64B6TkgiMLszVroIMVgZs/edit?usp=sharing
Works Cited:
1.Graff, Gerald, and Cathy Birkenstein. They Say/I Say: The Moves That Matter in Academic Writing. 5th Ed., W. W. Norton & Company, 2017
2.Lamott, Anne. “Shitty First Drafts.” Language Awareness: Readings for College Writers, edited by Paul Eschholz, Alfred Rosa, and Virginia Clark, 9th ed., Bedford/St. Martin’s, 2005, pp. 93-96.
3.Kleon, Austin. Steal Like an Artist: 10 Things Nobody Told You About Being Creative. Workman Publishing, 2012.
Pledge MM.


