If you laughed at the narrator’s cheeky asides in My Lady Jane and the quippy back-and-forth between Jane and Gifford (even when he’s inconveniently a horse), you’ll adore the satirical swashbuckling of The Princess Bride. From Vizzini’s “inconceivable!” logic to Miracle Max’s deadpan cures and Westley and Buttercup’s banter, it delivers that same playful, self-aware comedy—complete with interruptions and commentary that wink at you as boldly as the Janies do.

If you loved how My Lady Jane winks at history—saving Jane from the axe and nudging the record with a conspiratorial “dear reader”—you’ll relish Thursday Next literally diving into Jane Eyre to fix plotlines. Literature crimes, a villain named Acheron Hades, and the Prose Portal turn classic texts into battlegrounds, capturing the same gleeful, reality-tweaking spirit that let Lady Jane outfox her grim fate.

If Gifford’s Eðian transformations and the breezy, rules-light enchantments of My Lady Jane won you over, Howl’s Moving Castle is your perfect next stop. Sophie’s sudden curse, Howl’s dramatic tantrums, and Calcifer’s sly bargains power a funny, warm romance where magical hijinks—much like those in Jane and G’s not-quite-arranged marriage—constantly complicate feelings in the most delightful ways.

If the scramble over Edward’s throne, the Dudley machinations, and Jane’s perilous rise drew you in, you’ll be captivated by Maia—an unexpected heir who must navigate venomous courtiers, ceremonial minefields, and an airship conspiracy. Like Jane cleverly surviving Tudor plots, Maia’s empathy becomes his sharpest political tool, offering a hopeful twist on backstabbing intrigue.

If switching among Jane, Gifford, and Edward’s distinct voices—each adding humor and heart as they outmaneuver the crown—was part of the fun, you’ll love how The Raven Boys trades off between Blue, Gansey, Ronan, Adam, and Noah. Their found-family dynamics, ley-line quest, and eerie Cabeswater forest interlock across perspectives with the same lively ensemble energy.