Part I (of two parts) of the dissertation of May 1970 within which author unpacks and defends the conjecture that works of art must be structured to be playable as inductive games if they are to be experienced powerfully – the core construal upon which his subsequent discussions of the nature, scope and limits of screenwriting were to rest. [Part I encompasses the Abstract and Preface of the thesis, and Chapter I with appendices – a formal excursion into pertinent aspects of probability theory and inductive logic.]