CASUAL SPOILERS ABOUND: YOU HAVE BEEN WARNED
Etta Invincible is a debut novel and it shows. It's not bad, but there are some aspects I feel a more seasoned writer would have avoided.
(At least I *hope* a seasoned writer would avoid these missteps.)
First and foremost, the book takes too long to get started. Eschmann spends an undue amount of time setting up Etta's motivations when the train could easily have doubled as an expository journey. Particularly when the information is being retreaded.
The two kids lose Louisa on the train on page 53, and they don't actually get on the train themselves until page 108. We already know they're going to get on the train per the synopsis. Why not just put them on the train immediately? It also is a major deflation of tension because now there are 40 pages of boring everyday stuff that goes nowhere. In that intervening time, we don't learn anything: 1, we couldn't have learned via Etta talking to Eleazer /on/ the train or 2, that is actually significant.
Etta goes to school, looks for Louisa with Eleazer the organic way - again a waste of page time when we know she's on the train - and takes Eleazer home for dinner. I can admit the two get some decent character bonding during this time, but it's not anything that could not have been done on the train.
Etta's parents almost stop her from going dog searching the following day because they're worried about her getting vertigo due to her new maybe diagnosis of Meniere's disease. It would have been easy to slip their anxiety in at the beginning of the book where Etta is outlining her difficulties the past few years vs. the recent (potential) revelation. There was no need to make it a big conversation at this juncture, especially since they capitulate immediately.
The book could have been streamlined to its benefit by cutting the 'before the train' pages down to 50 (if that).
Based on what I know in hindsight I would have set it up as follows: Etta expresses how her parents have been hovering over her due to the vertigo incident she just had. Etta gets into an argument with them about it before rushing off to school. On the way she meets Eleazer. The train comes up. Eleazer loses control of Louisa's leash. She darts for the train, Eleazer follows. Whoops, Eleazer was still holding Etta's sketchbook. Now, Etta throws herself onto the train. Boom: The book has begun in 3 chapters instead of 9.
This would have laid the groundwork better for Etta's character arc. Etta would have a conflict with her parents, get trapped on the train and now has this looming worry of them never letting her go out again when she doesn't show up at school. She's going to be insecure about being strong enough for what the train throws at her fresh off a conflict about her illness, plus she's already established as a quiet, rule-following little kid. She'll have to come out of her shell to be the person she wants to be to survive the train, not just do what her parents think will keep her safe.
The train puzzles are simplistic and barely qualify as such. Puzzles usually require effort over time, quick wits, or deep thinking. The boxcar are obstacles, sure, but not real puzzles like you'd see in The Westing Game or The Parker Inheritance or The Ambrose Deception (I didn't even like The Ambrose Deception all that much and I still have to admit it had better puzzles).
For example, the second boxcar is a room of food that's designed to distract them from their goal. They get lost for a bit eating. When they snap out of it, the food starts to come alive and attack. They realize that some of the wrappers on the food have capitalized letters where there shouldn't be. When they put the letters from all the wrappers together, it spells 'Run'.
This isn't actually a puzzle because the food attacks them too soon. They were literally already in the middle of running because they were being attacked, so what good does the message do? You can argue it's supposed to be ironic that they missed it, but I'd argue that even accepting that as the goal it was still poorly done because it was resolved too easily.
Why not put the letters only on the foods Etta knows she's not supposed to be eating? That would make the outcome more rooted in Etta's choices rather than incidental. The letters being on all the foods means that even though the two kids were starving, they were supposed to just....not eat all day? That's certainly not healthy.
One of the other boxcars is a room of books. The kids naturally think the clue to leaving must be in a book. They come to find out that the trick of the room is that when they attempt to read, they'll doze off, trapped in a loop of unfinished stories - none of the books have endings. Eleazer and Etta assume they must figure out how to finish the stories in order to move on. To do so, they finish TWO books in a sea of hundreds, and the door appears.
There are four people in this room (Akio - a man they found living on the train who knows more than he lets on and Mariana - a girl who got on the train to become the apprentice to the Great Conductor have joined the duo by this point) why don't all four of them have to finish a book?
It's already been determined that the boxcar does not have to be solved by the one who wished it up, so it's not like it was important only for Etta to do it. And even if it was, what was the point in Eleazer writing the end of his book then?
The book Eleazer finishes is one his grandmother gave him before he left Columbia. He fills in the ending since he's read it before. Mariana wrote in Etta's sketchbook without her consent when Etta was asleep/having a vertigo episode. She leaves the story on a cliffhanger that Etta never would have, but nevertheless, she writes 'the end' to conclude it because she wants to move on. I have no issue with either of these as solutions for the boxcar as both books have significance to the respective characters. However, if the books were going to be the ones that were relevant to them, specifically, why bother with a room full of books? Or better yet, why not have them realize that and pursue only those books in the boxcar? It would make the puzzle feel like a real puzzle because they're now putting in work to figure out a specific part. Instead, they read at random and happen to stumble upon what to do.
Plus, how does it even make sense that Eleazer has to finish a book that has a confirmed ending - the book is Little Women - that is a matter of fact and Etta has to finish her personal book that she can arbitrarily conclude at will since it's her writing?
Despite Etta being worried about how much time is being spent on the train, she seems content to waste who knows how long searching through bottomless books. It doesn't make any sense that she or any of the other kids would not consider a common thread to search for rather than search blindly.
The internal logic of the train doesn't make any sense either. It's supposed to magic up what you wish for at each boxcar. Functionally, it's not really wishes, more like what you're thinking about or feeling in the moment. As you may have guessed, it then perverts the idea forcing you to find your way out via puzzles. The problem is that most of the boxcars are related purely to Ella's story arc.
The first boxcar is Eleazer missing his grandma. It takes them to a park in Columbia they used to go to together. The second is the aforementioned food room, which is Ella's because she was so hungry. The third is not their wish at all: they meet Mariana in her wished up room along with Akio, who lives in the room somehow. The fourth is Ella because she was thinking about her sketchbook. The fifth is Ella because she was worried about her sketchbook being ruined. The fifth even features her comic literally coming to life for her to fight in as Invincible Girl.
How are the Ella rooms supposed to help Eleazer or Mariana emotionally? At this point it's obvious Eleazer is hiding his homesickness behind apathy and that Mariana is desperate to be the apprentice to the Great Conductor because she wants to feel closer to her mother (the former Great Conductor apprentice) who is now dead. Ella's arc is about her insecurity. That has no crossover with feeling out of place in a new country or grief over a loved one.
Her boxcars in no way benefit either of the other characters' arcs. As such Mariana and Eleazer stay stagnant for far too long. Each room only serves to develop Etta further. None of them reveal anything about the others that is new.
It'd be one thing if Eleazer was tagging along on Etta's journey, but he's not; she is supposed to be along for the ride on his. So why are all the boxcars tailored to her instead of him? How is there even any crossover in the first place between them and Mariana when she's on a totally different journey? Why - if the boxcars are motivated by what passengers feed it - can't the kids manipulate where the train car takes them to some extent?
At one point, the villain Petra Fide disappears through a door. They give chase. They end up in a boxcar Petra Fide apparently wished up. Except this doesn't make any sense because no one wished to go to Petra Fide's boxcar. Akio asks whose boxcar it is and Etta explicitly states it has to be Fide's. None of them were thinking of following Fide in the moment, so why are they able to intrude on her wish? The same goes for earlier when Etta and Eleazer were somehow able to stumble into Mariana's.
And what of diametrically opposed wishes? What if Mariana was specifically wishing for a space themed wish and Etta was specifically wishing to be underground? How does the train decide what wish takes precedent over another? It's not established to be a sentient train assessing what each person who rides it best needs - it's basically a regular train that takes emotions to ride instead of normal fuel.
I just think the train could have used more firm rules and regulations. Yes, it's broken but that doesn't mean that the story doesn't have to follow some kind of structure. The train cars being evenly distributed in relation to each of the kids' story beats would not have hurt the premise of the train not working. The train was broken in that it was pumping out fear into the city, it was not broken in how the boxcars generally operated.
The final square off is anticlimactic. The kids confront Petra Fide yet it doesn't really matter because the Great Conductor is back in power. If he's back in the control room, fighting Petra Fide is meaningless since he should be able to fix things from the engine room. Why wouldn't he be able to just reset the train or poof her away or whatever? It's his train. What's stopping him? And if he can't, again what is stopping him? I understand fighting Petra Fide directly is there to finish out Etta's arc, however, that does not excuse not providing a legitimate reason why the Great Conductor can't simply do it. Especially when the stakes are supposed to be so high - why risk the entire world just so the kids can feel good about themselves? Or as an alternative, don't bring The Great Conductor in again until after Petra Fide is defeated so I'm not thinking about it.
Mariana is an alright addition to the duo, however, I think her inclusion should have been executed differently. I think the story would have been better off if she was already an apprentice on the train and lost her memory. Her journey would have been largely the same, but this way, she could have told them from the get-go what was wrong with the train instead of it being treated like some big secret. We already know from the synopsis that the train is now being run on fear. There is no reason it should be a revelation to the characters over halfway into the book. I think this would make the moment when The Great Conductor is rescued more emotionally impactful as well.
This is a minor, personal grievance. I didn't like that Etta's parents were aware she was gone the entire time. I would have preferred if the journey was a secret for the trio to share. It's entirely subjective: I just prefer my kid fantasy stories to have very little to no guardian involvement. If it's not crucial to the plot that the parent know, then I don't want to hear about them. I found it annoying when Etta would refer to getting frantic text messages from her mother, especially since it didn't matter; Etta couldn't move any faster and in the end all it amounted to was her being grounded which had no greater purpose for the story either way.
I will say on the positive side that Etta has Meniere's disease, and I appreciated how consistently present the impact of this was on the story. Etta's Quiet Days (i.e., the days when she couldn't hear as well) were referenced constantly, and she was in the midst of one the entire day of the adventure. It made her no less a hero for needing accommodations to continue on the journey.
I like that the book addressed the ableism of assuming if a person could choose they would choose to not be disabled. That's a multi-faceted, complicated thought experiment that is entirely dependent on the individual. It is horribly offensive to presume one way or the other. I enjoyed that while Etta did not always love the symptoms that stemmed from having Meniere's, it didn't make her hate having it or herself or think less of her body.
Disability can impact anyone any time, and ultimately, everyone will be disabled in some way eventually. It's important for everyone - especially kids because ableist rhetoric begins to impact them very young - to understand that disability is simply another facet of a person that can be adjusted to the same as anything else. Needing more time or effort to do things or needing to opt out of certain things entirely is something everyone has to do at some point: solely blaming disability is a convenient excuse.
Also, I never heard of Meniere's disease until I picked up this book, so it was informative for me too.
Long story short, a book that has all the expected markers of a middle grade adventure story with very few things to make it stand out on its own. It follows the beats in a predictable way, and it lacks anything by way of prose, character, or message to give it a unique identity. There are dozens of books just like this one that, at the very least, are more fun if not better written. Don't not read it, but it wouldn't be the first thing I'd pick if given the choice.