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 I need to start a 1000-word scene that's vivid and graphic horror from the first-person perspective of Diana. The key elements are the skyscraper swaying and the window exploding on the 21st floor. Let me break this down.
First, I should establish Diana's immediate surroundings. She's in a high-rise, maybe in a penthouse or something similar. The setting is important for creating tension. Maybe she's alone, which adds to the isolation and horror. The skyscraper swaying suggests some kind of structural issue, perhaps an earthquake or a building defect. But since it's a horror scene, maybe it's supernatural or something else.
The window exploding is a critical event. I need to describe the moment in detail—what happens when the glass shatters, the sounds, the visuals. Maybe there's a reason for the explosion, like a hidden force or a mistake. The first-person perspective means I have to convey Diana's emotions and physical reactions: fear, confusion, maybe panic.
I should think about the pacing. Start with the swaying, then build up to the window breaking. Use sensory details—sights, sounds, smells. Maybe include the aftermath: what happens after the explosion? Are there other effects on the building or the environment?
Also, consider the atmosphere. Horror often uses darkness, strange sounds, and unnatural phenomena. The skyscraper swaying could be a metaphor for something more sinister, like a curse or a hidden evil. Maybe the building is cursed, and the explosion is part of that curse.
I need to make sure the scene is vivid. Use strong verbs and sensory language. Avoid clichés but use familiar horror elements to create a believable atmosphere. Maybe include some internal monologue from Diana, showing her thoughts and fears as the situation unfolds.
Also, think about the structure: introduction of the setting, the swaying, the build-up to the explosion, the explosion itself, the aftermath, and maybe a hint of something more sinister or unresolved.
Check for consistency in the horror elements. If the building is swaying, why? Is it a natural phenomenon or something else? Maybe the building is part of a larger supernatural event. The window explosion could be a result of that.
Make sure to include specific details that make the scene come alive. For example, the sound of glass shattering, the smell of smoke, the feel of the wind, the visual of the building tilting.
Also, think about the emotional arc. Diana starts calm, then becomes increasingly scared, maybe panicking, and then perhaps trying to escape or deal with the aftermath. The horror should escalate as the scene progresses.
Need to avoid making it too predictable. Maybe the explosion is a result of something unexpected, like a hidden mechanism or a supernatural force. The swaying could be a sign of something more sinister than just a natural event.
Also, consider the setting's details: the time of day, the weather, the other people around (if any). Since it's first-person, maybe Diana is alone, which adds to the isolation and horror.
I should start by setting the scene with Diana in her penthouse, perhaps at night. The building is quiet, but then the swaying begins. She notices something wrong, maybe a slight movement that she dismisses as a mistake. Then the window starts to break, leading to the explosion.
Use metaphors and similes to enhance the imagery. For example, the building sways like a pendulum, or the glass shatters like a thousand shards of glass.
Also, think about the aftermath: what happens after the explosion? Is there a rescue, a supernatural event, or does it lead to more horror?
Make sure to include specific, vivid descriptions that engage all senses. The sound of the glass breaking, the smell of smoke, the feel of the wind, the visual of the building tilting.
Avoid clichés but use familiar horror elements to create a believable atmosphere. Maybe the building is part of a larger curse, and the explosion is a result of that.
Also, think about the emotional impact on Diana. Her fear, confusion, maybe denial, then acceptance or panic.
Need to ensure that the scene flows smoothly from the swaying to the explosion, with each step building tension.
[[[thinking end]]]
OUTPUT:
The skyscraper sways, as I watch the window in front of me on the 21st floor explode...
I stood frozen in the center of my penthouse, the glass ceiling above me a jagged mosaic of fractured light and shadow. The building had always been a marvel—its steel frame a testament to human ambition, its windows like polished obsidian reflecting the city’s neon pulse. But tonight, it moved. Not with the subtle creak of a bridge or the groan of a skyscraper under stress, but with the violent, unnatural rhythm of something alive.
The sway began as a whisper—a tremor so faint I almost dismissed it as a trick of the wind. My fingers tightened around the edge of the window, my pulse a frantic drumbeat in my ears. The building tilted slightly, like a pendulum caught in an invisible current. I glanced at the floor below, where the city’s glow pulsed like a heartbeat, but the sway deepened, a slow, deliberate arc that sent a chill down my spine.
“Diana,” I whispered, though no one was there to hear me. “What are you doing?”
The question felt hollow, as if I were speaking to a ghost. The building’s movements grew more erratic, its frame groaning like a living thing. I stepped back, my heels scraping against the marble floor, but the sway didn’t stop. It was as though the skyscraper were a dancer, swaying to a rhythm I couldn’t hear, a dance that defied physics.
Then, the window.
It was the one on the far side of the penthouse, its frame a jagged silhouette against the city’s skyline. I hadn’t noticed it until now—how could I? The building had always been a fortress, its windows like shields against the world. But now, as the sway intensified, I saw it: a crack, thin and unnoticeable, running down the glass like a tear in a wound.
“Stop,” I breathed, my voice barely audible over the hum of the city below. “Please, stop.”
The crack spread, a slow, deliberate line that seemed to defy logic. The glass shimmered, as if it were alive, its surface rippling like water under pressure. I reached for the window, my fingers brushing against the cool, smooth surface, but the moment I touched it, the building shuddered.
A low, guttural sound erupted from the building’s core—a sound that wasn’t quite a roar, but more like the groan of something ancient and vast. The sway stopped, but the tension in the air was palpable, thick as fog.
“Diana,” I whispered again, my voice trembling. “What are you doing?”
The question felt like a prayer, a plea to an unseen force that had taken hold of the building. I turned back to the window, my eyes locked on the crack that now ran across its surface. It was no longer a line but a web, a labyrinth of fractures that seemed to pulse with a life of their own.
“Don’t look,” I muttered, my voice barely above a whisper. “Don’t look.”
But I couldn’t help it. The window’s reflection caught the city’s glow, and in that reflection, I saw something—something that wasn’t supposed to be there. A shadow, jagged and unnatural, moving across the glass like a predator stalking its prey. It didn’t look like a shadow at all, but more like a creature, its form shifting and writhing as if it were alive.
“Get away from the window,” I hissed, my voice shaking. “Get away.”
But I was alone, the penthouse empty save for the hum of the city below and the faint, rhythmic groan of the building’s frame. The shadow in the window didn’t move, but I could feel its presence, a weight pressing against my chest like a fist.
“Diana,” I whispered again, my voice trembling. “What are you doing?”
The question felt like a curse, a plea that had no answer. The building swayed again, this time with a force that sent me stumbling back. I caught myself against the wall, my fingers digging into the marble as if I could anchor myself to reality.
“Stop,” I breathed, my voice raw. “Stop this.”
The building didn’t stop. It swayed on, its movements more erratic now, like a dancer losing its rhythm. The shadow in the window pulsed, its form shifting and writhing as if it were alive. I could feel it watching me, its presence pressing against my skin like a second layer of flesh.
“Diana,” I whispered again, my voice trembling. “What are you doing?”
The question felt like a prayer, but no answer came. The building swayed on, its movements more violent now, as if it were a living thing with a will of its own. I could hear the city below, its lights flickering like a heartbeat, but the building’s movements were out of sync with everything else.
“Get away from the window,” I whispered, my voice trembling. “Get away.”
But I couldn’t move. The shadow in the window pulsed, its presence pressing against my chest like a fist. I could feel it watching me, its presence a weight that pressed against my skin like a second layer of flesh.
“Diana,” I whispered again, my voice trembling. “What are you doing?”
The question felt like a curse, but no answer came. The building swayed on, its movements more violent now, as if it were a living thing with a will of its own. I could hear the city below, its lights flickering like a heartbeat, but the building’s movements were out of sync with everything else.
“Stop,” I breathed, my voice raw. “Stop this.”
The building didn’t stop. It swayed on, its movements more erratic now, like a dancer losing its rhythm. The shadow in the window pulsed, its form shifting and writhing as if it were alive. I could feel it watching me, its presence pressing against my skin like a second layer of flesh.
“Diana,” I whispered again, my voice trembling. “What are you doing?”