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Departing Obama Speechwriter: 'I Leave This Job Actually More Hopeful'

Behind most politicians is a speechwriter, typing rapidly somewhere in a small office and trying to channel the boss's voice.

The man who has held perhaps the most prominent speechwriting job of the new millennium is Jon Favreau, a 31-year-old from Massachusetts who was President Obama's chief speechwriter until this month. He started writing for Obama when the president was just a senator in 2005.

He tells Audie Cornish, host of All Things Considered , that writing for the president means walking a line between two worlds.

"You're trying to balance what the president would want to say with what people are looking to hear," he says. "But you need to strike the right balance, because if it's all what people want to hear, that's not true to who he is."

Jon Favreau, President Obama's former chief speechwriter, is pictured on the South Lawn of the White House in 2010. Charles Dharapak/AP hide caption

Favreau says his next stop after the White House is starting a communications consulting firm; he plans to write a screenplay based on his experiences.

"We'll see how long it takes for me to find my own voice again," he says.

Interview Highlights

On the writing process

"My challenge is to make sure that whatever he's thinking, whatever thoughts he has, we can get them down on paper, and we can shape the words to basically what he really wants to say. So our process is, I will sit down with him, we'll talk for 20 or 30 minutes, and he'll have lots of thoughts on the specific speech that he's going to give. And then I will go back, and I'll work with my team, and we will put together a draft that reflects the conversation that the president and I had.

"And then we'll start going back and forth. Sometimes he will just make line edits himself and send the draft back. Or sometimes he will want to take the speech in an entirely different direction, and he will write six or seven pages of scrawled handwriting on a yellow legal pad, and we'll go back at it that way."

On the editing process

"There have been times where I'll have a phrase in there and he'll take it out — and then I'll explain to him, 'Well, I put it in here because if we do it this way, maybe it'll be a sound bite or maybe we'll get a quote that way or, rhythmic-wise, it'll be better.' And ... once in a while he'll say, 'Oh, I think you're right, let's do it this way.' And sometimes he'll say, 'No, I think the way I had it was better.' And that's just how we work. We have a very honest relationship."

On collaborating on Obama's famous race speech

"When I talk about the speech, I always say, you know, the stuff in the speech that you could hear almost any other politician say is mostly the stuff that I contributed. ... Before he gave it, he called me after a long day of campaigning, and he spoke for an hour about what he wanted in that speech. He told me it was going to be random thoughts off the top of his head, and they were not random at all. He had the entire logical argument all ready. ... He laid out the whole thing."

On his departing thoughts

"I leave this job actually more hopeful than when I first got there, and that is because I think that the president went into this more realistically than many people thought that he did. I've been working on these speeches since 2005, and so I know that almost every speech, he makes sure we have the caveat that, 'This is going to be hard.' ... He's not mistaken about how difficult some of this stuff is."

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Jon Favreau vs. Jon Favreau: Your Guide to Distinguishing the Obama Speechwriter from the Hollywood Filmmaker

By Julie Miller

On March 1, White House wunderkind Jon Favreau will retire his position as President Obama’s chief speechwriter. According to several outlets , the 31-year-old is planning to pack up his collection of aviator sunglasses and head out West to script dialogue for people other than the nation’s first in command. Aside from dealing with the normal challenges that a transcontinental move and a career change present, if he decides to “go Hollywood,” the Massachusetts-born rhetoric whiz will be faced with a familiar-sounding obstacle: namely, another Jon Favreau with impressive writing credits. In particular, the one who bridged his success as the screenwriter and star of the 1996 comedy Swingers into a career as a director, producer, and actor whose films ( Elf , Cowboys & Aliens , Iron Man ) have collectively brought in more than a billion dollars at the box office.

So just how will Obama’s “mind reader” stack up against the Iron Man –franchise maker, should the former join the latter in the entertainment capital of the world? As a service to you—future confused partygoer unsure of which one is chatting you up by the bar—we’ve compiled a guide to differentiating the two famous Favreaux, below.

Washington, D.C.’s Jon Favreau Hollywood’s Jon Favreau Birth Year: 1981 1966 Provenance: Winchester, Massachusetts Queens, New York Documented Heritage: French-Canadian French-Canadian-Italian Distinguishing Physical Characteristics: Buzz haircut and gap-toothed smile Robust jawline Actor Who Would Play Him in His Lifetime Biopic: Chris Evans Steve Guttenberg University Pedigree: Valedictorian at College of the Holy Cross Dropout from Queens College Nerdy Formative Interests: Classical piano, College Democrats Dungeons & Dragons, Hacky Sack Unlikely Former Jobs: Telemarketer Assistant at Bear Stearns Early Career Flop: John Kerry’s failed 2004 presidential campaign The 1994 comedy PCU Breakout Role: “Favs,” Obama’s right-hand man and oratorical mastermind “Mike Peters,” a struggling comedian and successful mope in Swingers Battle Cry He’s Credited with Making Famous: “Yes, we can” “Vegas, baby! Vegas!” Low-Profile Pastimes: Prepping the president’s speeches at Starbucks Geeking out with his comic brethren at Comic-Con Critically Panned Hiccup: An ill-advised photo op with a cardboard cutout of Hillary Clinton Couples Retreat (he wrote the script and co-starred) Hiccup Comeuppance: A good-natured rib from camp Hillary None . . . the film still grossed more than $100 million worldwide High-Profile Primetime-TV Ex: Rashida Jones Monica Geller (whom Favreau’s character dated on Friends ) Influences: Robert Kennedy Martin Scorsese Recent Paycheck: $172,200 for 2012 $10,000,000 (reportedly) for Cowboys & Aliens

Coincidentally, Washington, D.C.’s Jon Favreau would not be the first Obama speechwriter to move to Hollywood, only to risk being mistaken on paper with an established entertainment personality. Favreau’s former colleague, Jon Lovett, currently the co-creator of the NBC comedy 1600 Penn , and not the whiny-voiced S.N.L. alum Jon Lovitz, also shares this distinction. However, Favreau may not have to worry about this outcome: after hearing news of his potential move, Hollywood’s Jon Favreau joked that he should relocate to Washington to “confuse the hell out of everyone.”

By Bess Levin

By Molly Jong-Fast

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Julie Miller

Hollywood correspondent.

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Jon Favreau has the world's best job

By Matthew d'Ancona

In his memoirs, the late Ted Sorensen, speech writer and close advisor to John F Kennedy, recalls that President Clinton's press secretary, Mike McCurry, once told him: "Everyone who comes to Washington wants to be you." What McCurry meant was that, decades after Sorensen had left the White House, new arrivals in the nation's capital still modelled themselves upon him, longing to be the young advisor close to an inspirational president, entrusted with the politically sacred task of turning his thoughts into words. Many have aspired to the role. But perhaps the most extraordinary example of those who have followed Sorensen's example is Jon Favreau, director of speech writing to Barack Obama - and not yet 30.

When the president makes his state visit to Britain later this month, he will deliver speeches prepared by Favreau and his team.

More broadly, as Obama strives to recover from the "shellacking" of his party in last year's midterms and prepares to seek a second term in November 2012, Favreau will be at the heart of his quest to find a language that connects with Middle America and persuades Joe Six-Pack that Obama deserves four more years in the White House.

The president has often declared his admiration for Ronald Reagan.

It is remarkable to reflect that Favreau was not even born when Reagan won the presidency. Obama himself is scarcely a senior citizen. But the wunderkind was only 15 when his future boss became a state senator in Illinois.

Favreau came of age in the high season of The West Wing , the show that did more than anything since JFK's Camelot to glamorise the life of the White House aide. For once, however, political reality has trumped political myth. When it comes to exhilaration, intellectual energy and sheer desirability, the life Favreau now leads surpasses even that led by the young guns Sam Seaborn and Josh Lyman in Martin Sheen's fictional Bartlet administration. Plucked by Obama from the life of a disillusioned DC drone - so hard up he lived off happy-hour deals in cheap Washington joints - Favreau now tours the world on Air Force One at the side of the world's most powerful man, laptop slung over his shoulder, making history as he goes. "Dude, what you're writing is going to be hung up in people's living rooms!" Bill Burton, Obama's campaign press chief, said to his young colleague as he tapped away at a draft of the inaugural address. Favreau was 27 at the time: only in show business and sport do the young experience so much pressure, power and glamour so early in life.

To understand the Obama presidency, one must understand Jon Favreau (not to be confused with his namesake, the Hollywood actor and Iron Man director). Tall, gap-toothed, recognisable by his Timberlake buzz cut, the 29-year-old is the man to whom the 44th president entrusts one of his most precious political assets: his oratory. George W Bush made hundreds of speeches, some of them very significant (the State of the Union address in 2002 that identified the "axis of evil", the West Point speech in the same year that unveiled the doctrine of pre-emptive attack). But nobody would pretend that the last president was a gifted rhetorician.

Obama, in contrast, rose to national prominence with a single speech - a tour de force delivered at the Democratic National Convention in 2004. The punctuation marks of the thrilling presidential primaries of 2007-8 were a series of Obama speeches that frequently mesmerised and rarely disappointed. As David Axelrod, chief strategist for his presidential campaign has observed: "Barack trusts [Favreau]. And Barack doesn't trust too many folks with that - the notion of surrendering that much authority over his own words."

Second, Favreau - or "Favs", as the president calls him - personified the brazen youthfulness of the Obama campaign. It sent an unambiguous message to the world that the Democrat nominee had hired a member of the Facebook generation to be his speech writer, rather than a seasoned political professional or freelancing academic. Favreau's method was that of the student having an essay crisis. He would withdraw with his laptop to a nearby Starbucks, take off his Aviator sunglasses and pound away for hours - a process he called "crashing". Even now, more soberly dressed and with a formal White House title, at the helm of a team of six writers, he sometimes disappears to a Washington coffee shop for peace, caffeine and concentration. This, it is safe to say, is not how Thomas Jefferson and Alexander Hamilton wrote speeches for George Washington - or, for that matter, Raymond Moley, FDR's legendary speech writer, or Peggy Noonan, when she prepared Ronald Reagan's homespun addresses.

By Ben Allen

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By Adam Cheung

As such, Favreau has always been an unofficial mascot of the Obama phenomenon, an important anchor of the brand. It was no accident that a host of profiles of the young prodigy appeared during Obama's campaign. It did the nominee's chances no harm for it to be known that, on the night of victory in the Iowa caucuses, Favs had e-mailed his friend: "Dude, we won. Oh my God." Such stories cemented the idea that Obama was the candidate for the digital era, not just the first African-American with a serious chance of winning, but the first candidate since Bobby Kennedy truly to understand the aspirations of the young.

That scrutiny came at a cost. At a party thrown for him by his parents at their home in North Reading, Massachusetts, Favreau was photographed with a cardboard effigy of Hillary Clinton, Obama's defeated rival for the Democratic nomination, apparently groping her breast. Inevitably, the picture ended up on Facebook - forcing Favreau to make a grovelling apology to the new secretary of state.

Since then, he has cultivated a markedly lower profile. The Brownlow Report in the Thirties, which first recommended professionally staffing the White House, advised presidential aides to display "a passion for anonymity". But Favreau has not gone quite that far. He still features routinely in video clips on the official White House website, usually when the presidential entourage is on tour overseas.

His love life is always of interest to the gossip columns and celebrity websites - not least when he was linked to Ali Campoverdi, a White House aide who had once posed in lingerie for

Maxim . Last June, he and fellow Obama staffer, Tommy Vietor, were photographed shirtless in a Georgetown bar, apparently playing "beer pong" (an endlessly variable beer-drenched version of table tennis, beloved of frat boys). Favreau and Vietor denied, via "friends", that they were playing the game. But that didn't stop conservative bloggers having a field day about these young pups supposedly dragging the presidency into disrepute.

Born in June 1981 in Winchester, Massachusetts, of French-Canadian descent, Favreau took a very precocious interest in politics after his Greek-American mother, Lillian, backed Michael Dukakis in the 1988 presidential contest. But it was as a scholarship student majoring in political science at the College of the Holy Cross in Worcester, Massachusetts, that his passion was truly ignited. Just as Obama's politics emerged from his experience as a community organiser, so Favreau was inspired by his volunteer work for welfare recipients in Worcester. He wondered "why I would regularly encounter single working mothers who could not afford food, housing or medical care, despite the fact that they worked over 40 hours a week. If the idea was to get people off welfare rolls and into jobs, why were the jobs failing to provide even the most basic standard of living? These questions led me to Washington."

As a student, he interned in the press office of Senator John Kerry of Massachusetts, where his talent was quickly recognised and he even helped ghostwrite some newspaper articles for Kerry himself. "This Favreau kid is really incredible," the senator's staff informed the internship organisers. Once he had graduated, he returned to Kerry's press office, which was now embroiled in a fight for the presidency. By the end of the (failed) campaign against Bush, Favreau had risen to become Kerry's top speech writer. But he was appalled by what he saw of politics in the 2004 race - the back-stabbing and divisiveness - and was ready to leave Washington for grad school. "After the Kerry campaign, after all the backbiting and nastiness, my idealism and enthusiasm for politics were crushed," he said. "I was grateful for the experience, but it was such a difficult experience, along with losing, that I was done. It took Barack to rekindle that." The first approach came from Robert Gibbs, Obama's communications director, who told the disenchanted Favreau that they were looking for a speech writer. He met Gibbs and the new senator for Illinois in the cafeteria in the Dirksen building on Capitol Hill. Obama wanted to know what had got him into politics and what his "theory of speech writing" was. "I have no theory," answered Favreau. "But when I saw you at the

[2004] convention, you basically told a story about your life from beginning to end, and it was a story that fit with the larger American narrative. People applauded not because you wrote an applause line, but because you touched something in the party and the country that people had not touched before. Democrats haven't had that in a long time."

This did the trick, and "Favs" was soon an indispensable member of the team. The approach taken by Obama and his young speech writer is one of the most intimate deployed by a president and a close aide. Karl Rove was often described as "Bush's Brain".

Favreau is described by Obama himself as a "mind-reader", able not only to provide a beautifully written draft but also to "channel"

Obama, to mimic his turns of phrase, his cadences and his approach to anecdote and quotation. Typically, the two men will sit together for half an hour, as Obama talks and Favreau types everything that he says: what he calls the "download". He then reshapes it into a draft. Obama works on the draft. The process continues until the two men are content.

In the case of the inaugural address delivered on 20 January 2009, Favreau worked on a draft in Starbucks with help from three colleagues, Ben Rhodes, Adam Frankel and Sarah Hurwitz (the latter two assisted with the now-famous ending of the speech, which alluded to a message sent to the American people by Washington when the outcome of their revolution was in doubt: "Let it be told to the future world that in the depth of winter, when nothing but hope and virtue could survive, that the city and the country, alarmed at one common danger, came forth to meet it"). Over the weekend of 10 and 11 January, Obama sequestered himself in the Hay-Adams Hotel and redrafted the text to his satisfaction.

The fruits of the collaboration between the president and Favreau have often been sensational. Favreau is credited with Obama's most famous slogan - "Yes We Can". There have been other such encapsulations that have made their way into the political bloodstream, such as the president's call in this year's State of the Union address for a "Sputnik moment" - a technological leap forward. Much more remarkable, however, has been the high quality of Obama's oratory in general, his ability to soar as a rhetorician, deploying political arts that are traditional and rooted in the classics rather than the television and internet age.

Both he and Favreau dislike sound bites and the "laundry list" convention of the modern political speech - a long inventory of achievements - and spend much more time on "narrative" (the story a speech tells) and "naming" (the explicit identification of problems or challenges).

In the extraordinary speech written by Favreau for the Jefferson-Jackson dinner in Iowa in November 2007, for instance, Obama declared that "the same old Washington textbook campaigns just won't do in this election. That's why not answering questions because we are afraid our answers won't be popular, just won't do.

That's why telling the American people what we think they want to hear instead of telling the American people what they need to hear just won't do. Triangulating and poll-driven positions because we're worried about what Mitt [Romney] or Rudy [Giuliani] might say about us just won't do." This was a lethal attack upon the focus-group-obsessed Clintons, but delivered with a grace and impact that persuaded many for the first time that Obama might just be the man.

Favreau made a similar contribution to the speech on race delivered in March 2008, after the disclosure of the anti-American ranting of Obama's pastor, Jeremiah Wright. "I can no more disown him than I can disown the black community," the embattled candidate said. "I can no more disown him than I can my white grandmother - a woman who helped raise me, a woman who sacrificed again and again for me, a woman who loves me as much as she loves anything in this world, but a woman who once confessed her fear of black men who passed by her on the street, and who on more than one occasion has uttered racial or ethnic stereotypes that made me cringe." But, Obama continued, "the profound mistake of Reverend Wright's sermons is not that he spoke about racism in our society. It's that he spoke as if our society was static; as if no progress has been made." Again, this is a speech that will be anthologised and studied long after the detail of the legislation that Obama enacted as president is forgotten.

Of course, speeches on the campaign trail are quite different to speeches in office. In early 2008, Hillary Clinton repeated an adage made famous by Mario Cuomo: "You campaign with poetry, but you govern with prose" - Obama's speeches were poetic, but running the country could not be achieved by pretty rhetoric alone. To an extent, her prophecy has come true: in his first year as president, Obama made 411 "speeches, comments and remarks" (according to the official categorisation), almost all of them churned out by Favreau's office. Yet few of them had much, if any, direct impact upon the president's fortunes. The fight to secure healthcare reform, the midterm elections, the ongoing battle to secure sustainable economic recovery and the December tax cuts: these are what really mattered, big, crunchy political struggles.

Before his death, Sorensen made an acute critique of Obama's governing style. "I think that [Obama is] a remarkable speaker,"

Sorensen said, "but his speeches are still largely in campaign mode." Ouch.

Does that mean Favreau is now a marginal figure? Hardly. As he struggles to find a new idiom and a fresh language with which to reconnect with Middle America, and to reach out to Republicans in Congress, Obama will turn first to his trusted wordsmith - now more than ever, in fact. As he seeks imaginative ways of understanding and explaining the Arab uprisings, he will broaden his circle of advisors, as all presidents do - but always return to his "mind-reader" for help with the words. It is in the president's nature so to do.

Look at the deftness with which Obama's State of the Union address this year presented the horrific Tucson massacre - in which 19 people were shot - as evidence not of the divisions within America, but of the urgent need to unify. "Amid all the noise and passions and rancour of our public debate, Tucson reminded us that no matter who we are or where we come from, each of us is a part of something greater - something more consequential than party or political preference. We are part of the American family. We believe that in a country where every race and faith and point of view can be found, we are still bound together as one people; that we share common hopes and a common creed; that the dreams of a little girl in Tucson are not so different than those of our own children, and that they all deserve the chance to be fulfilled."

Pure Favreau. Pure Obama. An indivisible team with a lot more to do, and one more election to win. Will they prevail? Too early to say. But I bet you that, in his head at least, in moments of caffeine-soaked exhaustion late at night, Favs is already working on the biggest speech of them all, the crowning achievement: the second inaugural address. Can he write it? Yes He Can.

Originally published in the June 2011 issue of British GQ .

By Jake Kring-Schreifels

By Jack King

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Beginnings: The Breakthrough Moment

Jon favreau, speechwriter, “for the first time, obama sees it and he’s like, ‘i actually don’t have that many edits’.”.

• Published Jan 12, 2016

I started writing speeches for John Kerry when I was 21. And I basically only got the job because I was a press assistant on the campaign, and we were losing to Howard Dean, and the campaign was running out of money and there was a big shake-up and all these people got fired, and they needed a deputy speechwriter and at that point they couldn’t really afford to hire a real one. No one really wanted to join what looked like a sinking ship. He went on to have a whole general election, but throughout that whole time, I always sort of thought that I had landed the job by accident. As a writer, you can never tell if you’re good anyway without doubting yourself.

I met with Obama after Kerry lost and Obama won the Senate seat. Robert Gibbs had recruited me for this job because he was my boss when I was with the Kerry campaign. And he’s like, “Look, Obama’s never worked with a speechwriter before in his life — he’s written all his own stuff. But now he’s a senator; he’s going to need to learn to work with someone, whether he likes it or not.” And when I met with Obama he was unbelievably nice, we had a great conversation, it was the most easygoing interview I’ve ever had. And at the very end he said, “Well, I still don’t think I need a speechwriter, but you seem nice enough, so let’s give this a whirl.”

So I start with Obama through the Senate, thinking, you know, I had been at the convention when he gave that speech in 2004 . That was all him, and that hung over my head the entire time I started writing for him. Because I thought, Never will I help write a speech like this, right? He is the master — I was there when he gave one of the best speeches I heard, and he wrote it. And his first two years in the Senate, I think we wrote some decent speeches together, and then he announced for president, and — it’s hard to remember now — but for most of 2007, he was badly trailing Hillary Clinton. And on the stump, he would go and give 40-, 50-minute speeches in Iowa that were long and sort of rambling and workmanlike, and he’s better than that but it was a tough race, and when a race gets tough there’s more pressure and everyone starts yelling at you, you start just going out and saying all kinds of different things and making your speeches longer. The knock against him was “Oh, she’s all substance and you’re all style.” So to counter that I think Obama went out and tried to show everyone just how smart he was on every issue, and the speeches became very long and involved. And, you know, I’m Mr. Speechwriter in the campaign, and I’m like, “Well, I’m not fixing this, so I’m sort of a failure here.”

And so now it’s like October of 2007, and there’s literally headlines that say — I had one hanging up from the New York Post that said, “ Hillary Ready for Her Coronation .” We were down in Iowa, and our last chance there is the speech that Obama’s giving at the Jefferson-Jackson Dinner in Iowa. A couple of us that had been with the Kerry campaign in 2004 remembered that that was the speech that Kerry gave that sort of turned the race around and helped him beat Dean in Iowa. And so we looked at the speech the same way. Now, the interesting thing about this speech is, all the candidates deliver this speech. It’s the last time that all the candidates deliver a speech one after another before the caucusing begins, and the whole media’s there — national media, local media. There’s no prompter, and there’s a time limit of about ten minutes. So you have to deliver a ten-minute speech without a prompter and you have to make your best case for your candidacy. All the pressure was on this speech; everyone was like, “This is our only hope here. Maybe we can pull even with Hillary after this or catch up in the polls.” And because there was so much pressure on it, writing and drafting were impossible — there’s a million conference calls with everyone saying, “Emphasize this, emphasize that.” Me and Ben Rhodes and Adam Frankel probably went through ten, 15 drafts of that speech, staying up till three in the morning, having them rejected the next day by people because everyone was so involved. Obama didn’t know exactly what he wanted to say, and Axelrod didn’t know, and there was all kinds of calls and meetings.

So, finally, there was a speech planned a couple weeks before the JJ that we sort of just made up — it was basically a year before the actual election, right? Like the anniversary of the year before the real election. And no one on the campaign was really paying attention to that speech because everyone was so focused on the JJ. So what I did is I pretty much wrote a speech that I thought he should give at the JJ. I kind of snuck it in there. But I always remember now: The night that he was on SNL, I had a bunch of people over at my apartment in Chicago. He was supposed to give that speech that I had written, the practice speech, that day. I hadn’t heard how the speech went but I had a bunch of people over at my apartment to look at the SNL skit. It’s like 11, 11:30. And suddenly I get a call from Axelrod and he said, “Obama just gave the speech — totally blew up the place. He loves it and he says that that’s what the JJ needs to be. But the trick is, he needs you to cut this 20-minute speech down to a ten-minute speech so he can start practicing, and he needs you to do it by tomorrow morning.” So I was in my apartment with everyone over, I’ve had a beer or two, but immediately I kick everyone out, I change over to Red Bull and coffee, and I walked down to the campaign at midnight and stayed up all night until about 10 or 11 a.m. the next day, and I wrote the JJ speech. And I finished the draft and for the first time, you know, Obama sees it and he’s like, “I actually don’t have that many edits. I think it’s a pretty good speech.” So he practices that speech, practices memorizing that speech more than I had ever seen him do before, because he’s never really had to memorize a speech word for word. Like when we were at a hotel in Des Moines a couple weeks before the speech, if you walked by Obama’s hotel room you could hear him practicing the speech to himself and the mirror, just trying to memorize it.

There are two important moments in that speech . One paragraph distilled the whole race of why Obama and not Hillary at the time, right? Which was like, “This part of Jefferson and Jackson and of Kennedy and Roosevelt knows that we’re better off when we lead not by polls but by principle; not by calculation but by conviction. And that’s what this party’s about.” Something like that. And then there was this nice thing at the end that a lot of people didn’t notice in the campaign just because it wasn’t central to the message against Hillary, but he sort of quieted down at the very end of that speech and he said, “I’ll never forget that I would never be where I am right now unless someone somewhere stood up for me when it was hard.” You know, when it wasn’t easy. “And then because that one person stood up, a few more stood up, and then a few thousand more stood up, and then millions more stood up, and because they stood up we changed the world.” And that was sort of the first time we linked the history of him possibly being the first black president and civil rights with a message of the campaign, which was grassroots organizing to make a difference. And that’s sort of how we ended that speech, and that was always pretty meaningful to me.

So we get to the JJ, and somehow, by the luck of the draw, the order of the candidates’ speeches was that all the other candidates go first, Hillary goes second to last, and Obama goes last. So all these candidates go, get out of the way. Hillary gives her speech and the crowd’s all quiet for Hillary because she’s obviously the front-runner. And she gives a speech that is like all … I mean, you could tell there were a lot of slogans that were shopped around in her campaign. So the speech was something about “Turn up the heat, turn America around,” and all the supporters in the stands were supposed to yell, “Turn up the heat!” It didn’t work that well. And then there’s a pause and then Obama gets up there and he delivered — way better than it was written — the JJ speech. I was sitting there watching all the reporters, and all the reporters were like, “That’s it — that’s the speech. This is something big.” The crowd went completely insane. Even some of the other candidates’s supporters were going nuts.

The last time I had been in a room where he gave a speech like that was 2004, when I was a kid working for John Kerry. And to have been there in Iowa at that moment when I had helped work on the speech and just help sort of see, you know, history unfolding in this arena, it was incredible and it was the first moment in my life that I thought to myself, Okay, maybe I got the hang of this. From then on it felt like something clicked and then we had the Iowa victory speech and the New Hampshire speech, the “Yes We Can” speech and all that other kind of stuff. And it worked out from then on, but the JJ was sort of the first moment that I was like, Okay, I think I might have something to contribute here. I think I can be of use. That to me was probably the breakthrough.

It was also the first time I thought we would win. I mean, when we started, we thought it was a long shot — “Who knows?” — but then August, September roll around, October even, and we’re like, “I don’t know if we’re gonna do this. It seems we might come up short.” And then he gave that speech and it was great because most people from Chicago were in Des Moines that night, the whole campaign was there, and we — a couple of us had driven out from Chicago to go see the speech, me and my friend, just to be there. And you know, it was the first time that I thought, “It’s gonna happen. It could actually happen and turn this around.”

But it didn’t really resonate for me then. Not yet. It didn’t until we won Iowa. But I remember the first time I saw him after we won Iowa, he came out of his hotel room after editing that speech, and he just looked at me and he goes, “Speeches, man.” And he gave me a big hug and I was like, All right.

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What Would Obama Say?

By Ashley Parker

• Jan. 20, 2008

AT the Radisson Hotel in Nashua, N.H., Jon Favreau sipped Diet Coke and munched on carrot sticks and crackers to pass the time. His boss, Senator Barack Obama, wandered in and out of the room.

Finally, results from the New Hampshire Democratic primary started coming in, surprising everyone. Hillary Clinton was pulling past Senator Obama, who had won the Iowa caucuses only five days earlier.

Mr. Favreau, the campaign’s 26-year-old head speechwriter, found himself in the hotel lounge with less than three hours to revise what was to have been a victory speech. What made it particularly strange was that his words were being challenged. Mrs. Clinton had helped turn her campaign around by discounting Mr. Obama’s elegant oratory, saying, “You campaign in poetry, but you govern in prose.”

“To be honest,” Mr. Favreau said, “the first time I really stopped to think about how it felt was when he started giving the speech. I looked around at the senior staff, and they were all smiling. And I looked around the room and thought, ‘This is going to be O.K.’ ”

Mr. Favreau, or Favs, as everyone calls him, looks every bit his age, with a baby face and closely shorn stubble. And he leads a team of two other young speechwriters: 26-year-old Adam Frankel, who worked with John F. Kennedy’s adviser and speechwriter Theodore C. Sorensen on his memoirs, and Ben Rhodes, who, at 30, calls himself the “elder statesman” of the group and who helped write the Iraq Study Group report as an assistant to Lee H. Hamilton.

Together they are working for a politician who not only is known for his speaking ability but also wrote two best-selling books and gave the much-lauded keynote speech at the 2004 Democratic National Convention.

“You’re like Ted Williams’s batting coach,” Mr. Favreau said.

But even Ted Williams needed a little help with his swing.

“Barack trusts him,” said David Axelrod, Mr. Obama’s chief campaign strategist. “And Barack doesn’t trust too many folks with that — the notion of surrendering that much authority over his own words.”

When he first met Mr. Obama, Mr. Favreau was 23, a recent graduate of the College of the Holy Cross in Worcester, Mass., near where he grew up. Mr. Obama was rehearsing his 2004 convention speech backstage, when Mr. Favreau, then a member of John Kerry’s staff, interrupted him: the senator needed to rewrite a line from his speech to avoid an overlap.

“He kind of looked at me, kind of confused — like, ‘Who is this kid?’ ” Mr. Favreau recalled.

Mr. Obama became his boss the following year. Mr. Favreau had risen to a job as a speechwriter on the Kerry campaign, but by then was unemployed. He was, he said, “broke, taking advantage of all the happy-hour specials I could find in Washington.”

Robert Gibbs, Mr. Obama’s communications director, had known Mr. Favreau during the Kerry campaign, and recommended him as a writer.

Life was relatively quiet then, and Mr. Obama and Mr. Favreau had some time to hang out. When Mr. Obama’s White Sox swept Mr. Favreau’s beloved Red Sox three games to none in their American League 2005 division series, the senator walked over to his speechwriter’s desk with a little broom and started sweeping it off.

Mr. Favreau also used this time to master Mr. Obama’s voice. He took down almost everything the senator said and absorbed it. Now, he said, when he sits down to write, he just channels Mr. Obama — his ideas, his sentences, his phrases.

“The trick of speechwriting, if you will, is making the client say your brilliant words while somehow managing to make it sound as though they issued straight from their own soul,” said the writer Christopher Buckley, who was a speechwriter for the first President Bush. “Imagine putting the words ‘Ask not what your country can do for you’ into the mouth of Ron Paul, and you can see the problem.”

Many Democratic candidates have attempted to evoke both John and Robert Kennedy, but Senator Obama seems to have had more success than most. It helps that Mr. Obama seems to have the élan that John Kennedy had, not to mention a photogenic family.

For his inspiration, Mr. Favreau said, “I actually read a lot of Bobby” Kennedy.

“I see shades of J.F.K., R.F.K.,” he said, and then added, “King.”

Not everyone is so enamored. Mr. Obama excels at inspirational speeches read from a teleprompter before television cameras, critics have noted, but many of his other speeches on the campaign trail have failed to electrify.

Ted Widmer, a historian at Brown University, said that Mr. Obama’s speeches “were perfect for getting to where he was early in the race, but I think now that we’re in a serious campaign, it would be helpful to hear more concrete proposals.”

“There’s more to governing, there’s more to being president, than speechwriting,” he added.

Mr. Favreau said that when he is writing, he stays up until 3 a.m. and gets up as early as 5. He hasn’t slept for more than six hours in as long as he can remember, he said.

Coffee helped him through the Iowa caucuses. Two days before the victory there, he walked across the street from the campaign’s Des Moines headquarters and cloistered himself inside a local cafe.

He and Mr. Obama had talked about the post-caucus speech for about 30 minutes, settling on a theme of unity and an opening line: “They said this day would never come.”

“I knew that it would have multiple meanings to multiple people,” Mr. Favreau said. “Barack and I talked about it, and it was one that worked for the campaign. There were many months during the campaign when they said he’d never win. And of course there was the day that would never come, when an African-American would be winning the first primary in a white state.”

In discussions about the speech, the issue of race never came up, Mr. Favreau said. But, he added, “I know I thought about it.”

As Senator Obama’s star has risen, so has Mr. Favreau’s. In New Hampshire, Mr. Favreau stood in the back of a gym watching his boss campaign when Michael Gerson, a former speechwriter to the current President Bush, introduced himself. He complimented him on the Iowa victory speech.

The campaign staff has started teasing Mr. Favreau about his newfound celebrity. Not that it’s any great pickup line. Mr. Favreau, who said he doesn’t have a girlfriend, observed somewhat dryly that “the rigors of this campaign have prevented any sort of serious relationship.”

“There’s been a few times when people have said, ‘I don’t believe you, that you’re Barack Obama’s speechwriter,’ ” he went on. “To which I reply, ‘If I really wanted to hit on you, don’t you think I’d make up something more outlandish?’ ”

He does have other things to worry about. “Can you get through this process and keep the core of yourself?” Mr. Favreau asked. “You know, we’re finding out. I’m confident he can. And I think I can, too.”

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