When I
dig into places like 'Nether Abbey Hotel' I like to break down the components: the
ruins, the hotel interiors, the narrative hooks. Each piece has a reasonable analogue in the real world. Ruined abbeys — the kind tourists
flock to in England — supply the stonework, arches, and cloistered courtyards. Converted properties (boutique hotels in former ecclesiastical buildings) supply the rooms with heavy drapes, wainscoting, and that odd mix of grandeur and decay. The creators probably
blended features from multiple sites instead of copying a single address, which is common because it gives them freedom to stage scenes and control atmosphere.
There’s also a clear literary DNA at work: the whole concept nods to Gothic novels like '
Dracula' and atmospheric mysteries such as 'The Woman in Black' (and even echoes of '
rebecca' in the idea of a house/establishment living
in memory). So while you can't point to a street and say the hotel is there, you can trace the inspiration to a handful of real abbeys, converted hotels, and storytelling conventions. That composite approach is what makes it so effective for storytelling, and personally I prefer fictional composites — they let my imagination fill in the gaps.