All That We Know of Dreaming

Author: Penni Russon

Form: short stories

Framework: Writing about play

Quick revision overview

• Official VCAA List 2 mentor text for Unit 3 Area of Study 2 (Creating texts).
• Framework of ideas: Writing about play — group your reading with other mentor texts under this heading when you revise.
• A short story exploring memories, daydreams and the refuge that nature and imagination offer.
• Form: short stories — track how structure, voice, and address to audience carry the argument or feeling.
• Marked as an Australian text on the VCAA list — note how context and audience assumptions are positioned.

Why this text exists on the list

List 2 texts are mentor models for your own creating. They show how writers and speakers manage tension, credibility, and emotional register within a framework of ideas. Your SAC and exam work will ask you to compose and reflect — this page orients you toward craft you can name and imitate deliberately.

Craft and close reading

• Read once for gut response, then again for two craft decisions (e.g. anaphora, direct address, embedded narrative, tonal shift) and what each does to the reader.
• Keep a mentor-text log: quote one short moment, name the technique, name the effect — you will reuse this language in commentary.
• Connect purpose → audience → form in one sentence before you write creatively; examiners reward that line of thinking in reflective commentary.
• When planning your own piece, borrow moves (pacing, pivot, image pattern), not plot — VCAA rewards transformation of stimulus through your voice.

Practice discussion questions (mentor-text style)

These prompts mirror analytical habits useful in class — especially naming how a writer builds voice, structure, and relationship with audience.

• "How does Russon use the first-person voice to create intimacy?"
• "The story uses imagery and figurative language to explore relationships. Discuss."
• "How does Russon balance playful reminiscing with darker undertones?"
• "The piece asks: Why do we dream? Discuss."
• "How does the orchard setting enhance the themes?"

Section B and creative angles

Use these as starting points for drafting; adapt setting, persona, and conflict to your own brief.

• "Write a creative piece exploring daydreams and memory."
• "Write a personal essay about the power of imagination."
• "Write a story using rich imagery to explore relationships."

Commentary hooks

• State one deliberate borrowing (e.g. second-person opening, cyclical return to a motif) and why it suits your purpose.
• Name one divergence from the mentor (e.g. gentler tone, different ending) and defend it against the task or audience.
• Link a framework idea sentence to a concrete moment in your draft so the commentary is not generic.

Next steps in Study Sesh

• Open the framework hub for Writing about play from Unit 3 — Creating texts.
• Practise Section B pieces with the exam hub, then bring drafts to essay feedback with a note naming this mentor text.

Mentor guide assembled from VCAA list metadata and prompt bank — refine with your teacher and your own annotations of the primary text.