100,000 words in Arial 12pt, single spacing = 222

100,000 words in Times 12pt, single spacing = 251

100,000 words in Verdana 12pt, single spacing = 269
100,000 words in Calibri 12pt, single spacing = 210

100,000 words in Arial 12pt @ 1.5 spacing = 281

100,000 words in Times 12pt @ 1.5 spacing = 318
100,000 words in Verdana 12pt @ 1.5 spacing = 341
100,000 words in Calibri 12pt @ 1.5 spacing = 266

Probable average @ 1.25 spacing = 269 pages

__________________________________________
Introduction
Topic
Purpose
Perspective
Document Overview
Virtual Reality: A Brief Modern History
Pre-Consumer Era
Consumer Era
Fixing a Definition
Misguided Salutations in and to the Literature
Attention: A Brief History of Ideas
Perceptual Attention
Cognitive Attention
Methodological Reflections
Attention and Intentionality
Perceptual–Cognitive Hallmarks of Virtual Reality
Spatial Presence
Virtual Embodiment
Self-in-Virtual Space
Foci of Attention in Virtual Reality
F: Fiction
Fiction and Emotion
Immersion in Fiction
I: Interaction
Affordances, Action, and Agency
Ludic Systems
A: Artefact
Aesthetic Experience
Evaluative Thoughts
S: Self-in-Simulation
Realistic Behaviours
Reality Status Evaluations
Presence and Patiency
O: Other
Human Agents
Disengagement
Disinterest and/or Distraction
Temporal Attention
Negative Evaluations
Self-Reflection
Binaries in Perception, Cognition, Emotion, and Action
 Sensation vs. Perception
Bottom-Up vs. Top-Down
Core Affect vs. Basic Emotions
Subconscious vs. Conscious
Subpersonal vs. Personal
Automatic vs. Volitional
Visceral vs. Cerebral
Pre-Rational vs. Rational
Alief vs. Belief
From Sense Data to Semantics
Low-Level Perceptual Features
Mid-Level Perceptual Features
High-Level Perceptual Features
Pseudo-Social and Other Semantically-Rich Situations
Attention Direction in Audiovisual Entertainment
Film: Cinematography and Editing
Digital Games: Tasks and Means
Theatre: Scenography and Dramaturgy
Theme Parks: Exaggeration and Wayfinding Aids
Attention Direction in Quasi-Narrative Virtual Reality
Incidental vs. Instrumental Interaction
Interaction as Narration
Scenography as Narration
Dramaturgy as Narration
Narration as Attention Direction
Experiment/Observation?
Analysis of Video Footage?
Interviews?
Discussion: Form and Function
Leveraging Both Medium and Mind
(or, How Our Embodied Cognitions Dovetail with and Oblige the Simulation, thereby
Actively Supporting the Simultaneous Processes of Narration and Attention Direction)

Things I'd like to include/discuss but not yet sure quite where, why, or how they're relevant:
 Image Schemata
 Core Cognition
 Ecological/Affordance-Based Perception