Indulgence is an open format journal and we accept many types of submissions. Though prose submissions are the most common, poetry and visual pieces are also considered for publication.

The main question is how a piece interacts with the month’s texts and theme. While not expressly forbidden, we do not encourage book reviews of our monthly texts. Instead, submissions should use one or both of the texts as a way to plunge into the theme.  Ideally, pieces will be accessible for people who haven’t read the texts, and especially engaging for those who had. Indulgence also has a critical angle. We encourage writers to use their work to apply both light and heat to the theme. Light exposes the reality of the theme in the contemporary world. Heat gives impetus and orientation for action and change.

Diversity of view is essential to our mission at Indulgence. We will actively seek out positions that broaden the spectrum of representation on this site and in our newsfeeds. To make that work, we have three core values which guide our selection: kindness, honesty, and timeliness.

If your submission is selected, expect a relatively engaged editing process. Our editors want to push you to temper and then sharpen your work. We view writing, especially critically engaged writing, as a practice which hones both the piece in question but also the people involved in its production.

In general, pieces should run roughly 500 words, with a hard limit at 1000 words. Video or audio lengths are more flexible, but in principle should run around 3 minutes with a more stringent cut-off at 10 minutes.

To submit:

email submissions to as attachments, non-text submissions can be included as links.

Please put the month and text in the subject of your email, for instance:

November: On Such a Full Sea

Make sure that the body of your email includes the name you would like to use, preferred pronouns, and a twitter-length description of your submission. Like this:

My name is James Enfield, I prefer they/them/themselves pronouns. I’ve submitted an article connecting belonging OSAFS to contemporary Baltimore.