Say what it is about
Two or three lines about the piece — what it covers, who it is for, and the one thing the headline should promise. Or paste the finished draft and let it be titled from that.
A newsletter subject is not a campaign subject. Every set is written to 30–55 characters, scored, and previewed before you choose one.
Let’s name it!
Describe the piece, or paste it in full. Set a primary keyword under Details and every headline will carry it — and the score will start measuring where it sits.
The issue is assembled and you need the line that gets it opened — the one thing in this edition worth stopping for, in a voice your readers already recognise.
A newsletter subject is not a campaign subject. The reader chose to be there, so the job is not persuasion but selection: name the single item in this issue that is worth their four minutes, and let the preheader tease the second.
Three steps, and the third is where the choosing happens.
Two or three lines about the piece — what it covers, who it is for, and the one thing the headline should promise. Or paste the finished draft and let it be titled from that.
Newsletter issue is already selected on this page, so the 30–55 character range and its rules are set. Choose how many headlines to see, the angles you want, and add a primary keyword under Details if the piece is targeting one.
Every headline arrives with its character count, its score and its angle. Edit any of them in place and the numbers move with you, and the preview shows the selected one in a phone inbox row.
Every headline is counted against these, and anything past the hard limit is rewritten before you see it.
Three ways a newsletter goes wrong, all of them visible in the score.
The same subject line shape every week, so it stops registering as new.
A subject naming three items, which means the reader chooses none.
Numbering that resets or skips because nobody is tracking it.
Yes. Every purpose, angle, tone and count is free, without an account, within the per-request word allowance shown next to the brief. Signing in raises the allowance and Pro removes the guest limits and the ads — no feature of the newsletter subject line generator is held back on any plan.
The reader already said yes to a newsletter. So it sells selection rather than the open — which item this week is worth their time — and it keeps a consistent voice, because the voice is part of what they subscribed to. A campaign subject line, by contrast, is writing to someone who has not decided yet.
Yes, and this is where a generated set pays for itself: keep the same promise and change the angle. Resending the identical subject to people who already chose not to open it rarely changes the outcome.
Put the series or newsletter name in Details under Brand and it will be used where it belongs — usually in the preheader or as a short prefix — rather than bolted onto every subject line.
Out of 100, across five bands you can open and read on every card: length against the 30–55 character range for this purpose (25 points), how much of the wording carries meaning (20), clarity (20), keyword placement when you set a primary keyword (20), and specificity (15). The score runs in your browser and updates as you edit, and it measures the shape of the line — not a prediction of clicks, which nobody can make without your audience.
Yes, exactly as you typed them. And it works the other way too: a headline containing a figure that could not have come from your brief is rejected before you ever see it, as are placeholders such as [Topic] or “Your Company”. Anything your brief does not state is treated as unavailable rather than invented.
Write the piece underneath it, check the grammar, or summarise a finished draft into the description that goes with it. One plan covers every tool.
Each page opens the generator with that purpose already selected, and explains what that surface rewards, where it cuts a line, and what a headline written for it has to carry. The full picker, with all thirteen, is on the main headline generator.