I think you're probably right.
She's cycled through a lot of landscapes, creatively speaking.
She grew up in the Midlands, and depicts herself as attuned to the world of the farm her family held, and that it was a moment of life-altering sadness when her father had that letter she claims was about him not being able to pass on the tenancy to his children (except he doesn't seem to have been the tenant) when she knew she would have to 'leave the land', then when she meets townie TW, suddenly the farm is uninteresting and she's all about his interests, climbing and eco-warriorism and hiking in the Scottish Highlands, and then, it's all about Wales and the Lyn Peninsula and the Gangani and restoring their house with love and bare hands, and then suddenly Wales is unattractive, full of gossip, grim council accommodation and hostile judges and women with tight ponytails and Welsh accents, and it's all about the SWCP as their mystic space of wild headlands and safety etc etc, and then it's the healing rewilding of Haye Farm and TW becoming a kind of Green Man, and then we're back to Scotland and the Pennine Way and Offa's Dyke, with a side order of 'My only home is with my dying beloved'. (The Raynor Winn brand has stayed much more identified with Cornwall, though.)
(And that's leaving out entirely their actual geographical movements and addresses, which don't necessarily correspond at all with their 'memoir' ones.)
But you can easily imagine them moving on to the French property, or to an entirely different French property, and lovingly restoring an old bastide with their bare hands and TW's knowhow, and seeing whether the A Year in Provence brand might be reviveable.