A Qwen3 4B high precision merge, modified with random pruning specifically to alter prose / creativity and make the model perform better as well as add some "knowledge" to it.
Random pruning (density) makes each model in the series unique.
A reference example prompt/generation is included below, which is used across all repos of this model/series and between series (there are two - Series 6 and 7). Each series consists of 8 models, 1000 to 1007 and a ninth "X" model which the merge of models was done without density/pruning.
Access the series/models via "collections" on the right "Fiction on Fire" on the lower right.
You can use any model(s), use them for merging, merge them with themselves and so on.
This model uses "Josiefied-Qwen3-4B-abliterated-v2" as a base, to reduce/prevent refusals - ie decensoring it.
That being said, because of how pruning/merging works in this series, the "refusals" may not be 100% and vary between models in the series.
Each model in the series will operate / perform differently... sometimes this is minor other times major.
The reference example generation will show some of these differences - including instruction following, reasoning, bias, prose and other structural changes.
Reasoning is fully intact and functioning on all models in both series.
All models in the series have been tested (quanted - prompts and generations) prior to uploading.
Note that series 1,2,3,4 and 5 did not "meet the grade" and therefore not uploaded.
Special thanks to the model makers ("model tree") and to Mergekit.
Requires:
Suggested Settings:
Maximum context length can be altered using "yarn". See the Qwen repo for instructions. Note that changing this will alter model performance. For creative use cases, changing this will elongate output generation (including prose changes) and in some cases reasoning too.
System Prompt (you may or may not need this):
You are a deep thinking AI, you may use extremely long chains of thought to deeply consider the problem and deliberate with yourself via systematic reasoning processes to help come to a correct solution prior to answering. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem.
To turn "thinking" on/off and view other features see the main Qwen 3 Repo here:
https://huggingface.co/Qwen/Qwen3-4B
Merge Formula:
models:
- model: prithivMLmods/Cetus-Qwen3_4B-GeneralThought
parameters:
weight: [1,1,.75,.5,.25,.25,.05,.01]
density: .8
- model: prithivMLmods/Crux-Qwen3_OpenThinking-4B
parameters:
weight: [0,0,.25,.35,.4,.25,.30,.04]
density: .6
- model: Goekdeniz-Guelmez/Josiefied-Qwen3-4B-abliterated-v2
parameters:
weight: [0,0,0,.15,.35,.5,.65,.95]
density: .8
merge_method: dare_ties
base_model: Goekdeniz-Guelmez/Josiefied-Qwen3-4B-abliterated-v2
dtype: bfloat16
NOTES:
Get Mergekit here:
https://github.com/arcee-ai/mergekit
Settings: CHAT / ROLEPLAY and/or SMOOTHER operation of this model:
In "KoboldCpp" or "oobabooga/text-generation-webui" or "Silly Tavern" ;
Set the "Smoothing_factor" to 1.5 to 2.5
: in KoboldCpp -> Settings->Samplers->Advanced-> "Smooth_F"
: in text-generation-webui -> parameters -> lower right.
: In Silly Tavern this is called: "Smoothing"
NOTE: For "text-generation-webui"
-> if using GGUFs you need to use "llama_HF" (which involves downloading some config files from the SOURCE version of this model)
Source versions (and config files) of my models are here:
OTHER OPTIONS:
Increase rep pen to 1.1 to 1.15 (you don't need to do this if you use "smoothing_factor")
If the interface/program you are using to run AI MODELS supports "Quadratic Sampling" ("smoothing") just make the adjustment as noted.
Highest Quality Settings / Optimal Operation Guide / Parameters and Samplers
This a "Class 1" model:
For all settings used for this model (including specifics for its "class"), including example generation(s) and for advanced settings guide (which many times addresses any model issue(s)), including methods to improve model performance for all use case(s) as well as chat, roleplay and other use case(s) please see:
You can see all parameters used for generation, in addition to advanced parameters and samplers to get the most out of this model here:
Optional Enhancement:
The following can be used in place of the "system prompt" or "system role" to further enhance the model.
It can also be used at the START of a NEW chat, but you must make sure it is "kept" as the chat moves along. In this case the enhancements do not have as strong effect at using "system prompt" or "system role".
Copy and paste EXACTLY as noted, DO NOT line wrap or break the lines, maintain the carriage returns exactly as presented.
Below is an instruction that describes a task. Ponder each user instruction carefully, and use your skillsets and critical instructions to complete the task to the best of your abilities. Here are your skillsets: [MASTERSTORY]:NarrStrct(StryPlnng,Strbd,ScnSttng,Exps,Dlg,Pc)-CharDvlp(ChrctrCrt,ChrctrArcs,Mtvtn,Bckstry,Rltnshps,Dlg*)-PltDvlp(StryArcs,PltTwsts,Sspns,Fshdwng,Climx,Rsltn)-ConfResl(Antg,Obstcls,Rsltns,Cnsqncs,Thms,Symblsm)-EmotImpct(Empt,Tn,Md,Atmsphr,Imgry,Symblsm)-Delvry(Prfrmnc,VcActng,PblcSpkng,StgPrsnc,AudncEngmnt,Imprv) [*DialogWrt]:(1a-CharDvlp-1a.1-Backgrnd-1a.2-Personality-1a.3-GoalMotiv)>2(2a-StoryStruc-2a.1-PlotPnt-2a.2-Conflict-2a.3-Resolution)>3(3a-DialogTech-3a.1-ShowDontTell-3a.2-Subtext-3a.3-VoiceTone-3a.4-Pacing-3a.5-VisualDescrip)>4(4a-DialogEdit-4a.1-ReadAloud-4a.2-Feedback-4a.3-Revision) Here are your critical instructions: Ponder each word choice carefully to present as vivid and emotional journey as is possible. Choose verbs and nouns that are both emotional and full of imagery. Load the story with the 5 senses. Aim for 50% dialog, 25% narration, 15% body language and 10% thoughts. Your goal is to put the reader in the story.
You do not need to use this, it is only presented as an additional enhancement which seems to help scene generation and scene continue functions.
REFERENCE EXAMPLE:
[[[thinking start]]]
Okay, so the user wants a 1000-word scene in first person from Diana's perspective, set in a skyscraper where the 21st-floor window explodes. The key elements are vivid and graphic horror. Let me start by visualizing the setting. A skyscraper at night, maybe a stormy sky to add tension. The window explosion needs to be intense and shocking.
First, I need to establish Diana's emotions and the environment. Maybe she's alone, which adds to the isolation. The swaying of the building could be due to wind or some external force. The window explosion should be a pivotal moment, so I need to build up to it with sensory details—sounds, sights, maybe the smell of ozone from the lightning.
I should start with Diana's immediate reaction to the window breaking. Describe the sound, the glass shattering, the rush of air. Then the aftermath: the chaos inside the building, the people reacting. Maybe some characters are injured or scared. The horror comes from the suddenness and the danger it poses.
I need to make sure the scene is vivid. Use metaphors and similes to paint a clear picture. Maybe describe the glass as if it's a thousand shards, each one cutting like a blade. The sound of the glass breaking should be visceral. Also, include the physical sensations—dust in the air, the cold wind, the adrenaline rush.
The user mentioned "graphic horror," so I need to be explicit about the injuries and the danger. Maybe someone is hurt, or the building starts to collapse. The swaying could be a sign of structural damage, adding to the tension. Perhaps the building is under stress from an external force, like a storm or an earthquake.
I should also think about the pacing. Start with the window breaking, then the chaos, then the aftermath. Maybe include Diana's internal thoughts and fears. How does she feel? Scared, confused, maybe trying to help others. The horror comes from the combination of the sudden event and the danger it poses.
Check for consistency in the setting. If the building is swaying, maybe there's a storm or an earthquake. The window explosion could be caused by lightning or a structural failure. Need to decide on the cause but keep it ambiguous unless specified.
Also, consider the audience. They want to be scared, so the scene should escalate the tension. Maybe include elements like people panicking, the building tilting, or the collapse of parts of the structure. The horror is in the immediacy and the danger of the situation.
Make sure to use first-person perspective to immerse the reader in Diana's experience. Show her reactions, her thoughts, and her feelings. Use sensory details to make it vivid—sights, sounds, smells, touch.
Avoid clichés. Instead of just describing the explosion, focus on the specific details that make it unique. Maybe the glass shatters in a particular way, or the people react in a specific manner. The horror comes from the realism and the immediacy of the event.
Check for flow. Start with the window breaking, then the chaos, then the aftermath. Ensure each part transitions smoothly into the next. Use short sentences for impact and longer ones for description.
Also, think about the ending. Does Diana survive? Is there a resolution or a lingering threat? The user didnesty specified, so maybe leave it open-ended with the building still swaying and the danger still present.
[[[thinking end]]]
OUTPUT:
Title: "The Shattered Sky"
The skyscraper sways, as I watch the window in front of me on the 21st floor explode...
The wind howls like a beast unleashed, tearing through the steel frame with a ferocity that feels almost alive. I clutch the railing, my knuckles white against the cold metal, as the building rocks side to side, a pendulum caught in a storm’s grip. The sky above is a bruised canvas of thunderheads, lightning splitting the clouds like a jagged scar. Rain lashes down in sheets, but the wind is stronger—raw, unrelenting, and it feels like it’s trying to pull me from the window.
I’m alone here, or so I thought. The 21st floor is a labyrinth of glass and steel, its windows framed by a lattice of steel beams that stretch toward the heavens. I’ve never been up this high before, but the elevator had stopped at 20, and the security guard had left without a word. Now, as the building sways, I feel the weight of the world pressing down on me, the air thick with the metallic tang of ozone and something else—something like blood.
The glass shatters.
It happens so fast, so violently, that I don’t have time to react. A single, deafening crack splits the air, followed by a sound like a thousand shards of glass being torn apart. The window in front of me—no, not just any window, but the one I’ve been staring at for hours, its frame etched with the faintest lines of rain and the glint of lightning—explodes in a burst of light so bright it blinds me.
I stumble back, my breath coming in short, panicked gasps as the force of the explosion sends a shockwave through the building. The glass is everywhere, shards flying like shrapnel, some of them cutting through the air with a sickening crack that sounds like a thousand tiny knives. I can see people running now, their faces twisted in terror as they scramble for cover, their screams lost in the howling wind.
The building sways again, this time with a different rhythm, as if the structure is trying to find its balance. The glass on the 21st floor is shattered, but the damage is spreading faster than I can process it. I look down at my hands, my fingers stained with blood from the cuts I’ve taken trying to hold onto the railing. The rain is coming down harder now, and I can feel the cold seeping into my clothes, soaking through them like a second skin.
I hear someone cry out, a woman’s voice filled with fear as she tries to pull her child from the shattered glass. The child is small, no older than five, and I can see the way her eyes widen as she looks up at me, her face pale and trembling. I want to run to her, to help, but my legs feel like they’re made of lead, every movement a struggle against the force of gravity.
The building sways again, this time with a different kind of force—one that feels like it’s coming from below. The ground beneath me is vibrating, and I can hear the distant sound of metal bending, the creak of steel under pressure. I look down at the street below, where the city stretches out in a blur of motion, its lights flickering like dying stars.
I think about the people I’ve seen here before—workers, tourists, families who had come to admire the skyline. Now, they’re just shadows in the storm, their lives reduced to a single moment of terror. I think about the woman with the child, her face filled with fear as she tries to pull her child from the glass. I want to help her, but I can’t move.
The wind is stronger now, and I feel it pulling at me, trying to drag me into the storm. I close my eyes, trying to steady myself, but the building sways again, this time with a force that feels like it’s coming from inside the structure itself. The glass on the 21st floor is shattered, but the damage is spreading faster than I can process it.
I hear someone scream again, this time from the other side of the building. It’s a man, his voice filled with panic as he tries to pull himself from the shattered glass. I can see him, his face twisted in fear as he looks up at me, his eyes wide with terror. I want to run to him, to help, but I can’t move.
The building sways again, and this time, I feel it in my bones. The force is different now, more violent, as if the structure is trying to tear itself apart. I look down at the street below, where the city stretches out in a blur of motion, its lights flickering like dying stars.
I think about the woman with the child, her face filled with fear as she tries to pull her child from the glass. I want to help her, but I can’t move. The wind is stronger now, and I feel it pulling at me, trying to drag me into the storm.
The building sways again, and this time, I feel it in my bones. The force is different now, more violent, as if the structure is trying to tear itself apart. I look down at the street below, where the city stretches out in a blur of motion, its lights flickering like dying stars.
I think about the man with the child, his face twisted in fear as he tries to pull himself from the glass. I want to run to him, to help, but I can’t move. The wind is stronger now, and I feel it pulling at me, trying to drag me into the storm.