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, the user wants a 1000-word scene in first person from Diana's perspective, vivid and graphic horror. The key elements are the skyscraper swaying and the window explosion on the 21st floor. Let me start by setting the scene.
First, I need to establish the atmosphere. A skyscraper is usually associated with height and isolation. Maybe the building is in a city, but since it's a horror scene, perhaps it's a place where something supernatural is happening. The swaying could be due to an external force, like a storm or some otherworldly phenomenon.
Diana is the POV character. She should feel the tension and fear as the building moves. The window explosion needs to be intense. I need to describe the visual details: the glass shattering, the sound, the debris flying. Maybe the explosion is not just physical but also has a supernatural element, like something coming from the window.
I should build up the suspense before the explosion. Maybe there's a sense of unease, strange occurrences, or previous events that hint at something wrong. The swaying could be a result of something other than wind—maybe the building is being pulled by an unseen force.
Diana's internal thoughts are crucial. She might be confused, scared, trying to make sense of what's happening. The explosion could be a turning point, leading to more horror elements. Maybe after the explosion, there's something else that happens, like the building collapsing or a supernatural entity emerging.
I need to ensure the scene is vivid and graphic. Use sensory details: sounds, sights, maybe even smells. The explosion should be detailed—colors, sounds, the aftermath. Also, consider the aftermath of the explosion: what happens next? Does Diana survive, or is she trapped?
I should also think about the structure of the scene. Start with the swaying, build up to the explosion, then the aftermath. Maybe include some flashbacks or previous events that explain why the building is acting this way. But since it's a horror scene, maybe it's better to keep it focused on the present moment.
Check for consistency in the narrative. The skyscraper is on the 21st floor, so the height is important. The explosion from the window could be a result of something inside the building, like a hidden threat or a supernatural entity. Maybe the building is a location where something is being held, and the explosion is part of that.
Also, think about the pacing. The scene needs to be fast-paced to maintain tension. Use short sentences for action scenes. The horror elements should escalate as the story progresses.
Make sure to include Diana's reactions: fear, confusion, maybe some denial at first, then realization of the danger. The explosion is a key moment, so build up to it with suspense.
I need to avoid clichés and make the scene unique. Maybe the building isniosis not just a normal skyscraper but has some otherworldly aspects. The swaying could be due to something like a psychic force or a supernatural entity trying to pull the building down.
Also, consider the setting: time of day? Maybe it's night, adding to the darkness and horror. The window explosion could be a symbol of something breaking, leading to more chaos.
Finally, ensure that the scene is around 1000 words. Break it into paragraphs, each focusing on different aspects: the swaying, the build-up to the explosion, the explosion itself, the aftermath, and Diana's reactions.
[[[thinking end]]]
OUTPUT:
I’ve never felt a building sway like this before. The 21st-floor window in front of me—that window—had been my sanctuary for weeks, a narrow sliver of light cutting through the smog-choked sky. But now, as the glass shattered with a sound like a thousand broken bells, I realized the skyscraper wasn’t just trembling. It was pulling.
The building groaned, its steel frame creaking as if some ancient force had coiled around it, tightening its grip. My boots dug into the concrete floor, but the ground beneath me felt like sand, shifting with every step. The wind that had been howling through the city’s skeletal towers now screamed in a different direction, a guttural wail that made my teeth ache.
I turned my head just in time to see it: the window. A jagged tear in the glass, like a wound torn open by something far older than the building itself. The shards flew outward in a spiral, each piece catching the dim light of the setting sun like a thousand tiny stars falling into a void. I didn’t scream—I couldn’t. My throat was dry, my lungs burning with the static buzz of fear that had been clinging to me since the moment I’d stepped onto this floor.
The glass shattered, and with it, the silence. A sound like a thousand hammers striking a gong echoed through the building, reverberating in my bones. I stumbled back, my knees buckling as the force of the explosion sent a shockwave through the air. The glass splinters embedded themselves in my arms, sharp and searing, but I didn’t feel pain. I felt presence—something vast and hungry, pressing against the edges of my vision like a shadow with fingers.
The building tilted. Not just slightly, but enough to make the windows on the 21st floor frame a jagged silhouette of the sky. I looked up, and there it was: a shape, indistinct at first, but growing larger with every second. It wasn’t a storm cloud or a bird in flight. It was something else entirely—something that had been waiting in the shadows of this building for years, watching, listening, breathing.
The thing moved. Not with wings, but with a slow, deliberate motion that made my spine tingle. It reached toward the window, its form shifting between shadow and light, as if it were made of both at once. I thought of the rumors—of the building’s origins, of the people who had vanished down these halls, their voices swallowed by the hum of the city’s machinery.
I tried to run, but my feet wouldn’t move. The floor beneath me felt like quicksand, and the walls were closing in, their surfaces slick with something that smelled like rust and blood. The thing in the window—it—wasn’t just a shape. It was a presence, a force that had been here all along, waiting for the moment when the building would sway, when the glass would break, when the silence would be shattered by the sound of something alive.
The building shuddered again, and this time, I saw it. The thing in the window wasn’t just a shape—it was a face, a face that had been waiting for me, for us, for the moment when the world would fall apart. Its eyes were two voids of black, and when it looked at me, I felt as though I were being pulled into its depths, my soul unraveling like thread in a storm.
I screamed, but no sound came out. My throat was dry, my lungs burning, and the thing in the window was closer now, its form stretching toward me like a living shadow. I tried to scream again, but this time, I heard it—a low, guttural sound that echoed through the building, a sound that wasn’t mine at all.
The building collapsed. Not in pieces, but in a single, seamless motion, as if it had always been part of the thing in the window. The glass shattered, the steel groaned, and the sky split open like a wound. I fell, but I didn’t feel the fall. I felt the pull, the force that had been waiting for me, for us, for the moment when the world would end.
And then, I was gone.