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 in first person from Diana's perspective. The setting is a skyscraper that's swaying, and she's watching the window on the 21st floor explode. Let me think about how to approach this.
First, I should establish Diana's character. Maybe she's a regular person, not someone with any special skills or background. That makes her relatable. The skyscraper is a key element here. It's a tall building, so the setting is urban, maybe in a big city. The fact that it's swaying suggests some kind of structural issue, perhaps an earthquake or a malfunction in the building's foundation.
The window exploding is a dramatic event. I need to describe the scene vividly. Use sensory details: sounds, sights, smells. Maybe the glass shatters, the air pressure changes, the sound of the glass breaking. The explosion could be caused by something like a gas leak or an electrical fault. But since it's a horror scene, maybe there's a supernatural element too? Or maybe it's just a natural disaster.
Wait, the user specified "graphic horror," so I should focus on the visceral aspects. The window exploding would create a lot of visual and auditory elements. Maybe Diana is in shock, trying to process what's happening. She might feel fear, panic, or confusion.
I need to start with the swaying skyscraper. How does that happen? Maybe the building is tilting due to an earthquake, or maybe it's a malfunctioning elevator causing the building to tilt. Alternatively, it could be a supernatural event where the building is being pulled by some force. But since it's a horror scene, maybe the building is collapsing, and the window explosion is part of that.
Diana is on the 21st floor. That's high up, so she might have a view of the city below. The window exploding would be a dramatic moment. Maybe she's trying to escape, but the building is unstable. She could be trying to find a way out, but the building is swaying, making it hard to move.
I should start with her perspective. What does she see? The building swaying, the window breaking. How does she react? Panic, fear, maybe trying to call for help. Maybe she's alone, or there are other people around her. The horror comes from the combination of the physical danger and the psychological impact.
I need to build tension. Start with normalcy, then introduce the disturbance. Maybe she's in a meeting, or just walking through the building when something goes wrong. The swaying could be subtle at first, then it gets worse. The window explosion is a turning point.
Use first-person POV to make it personal. Show her thoughts and feelings. Maybe she's trying to stay calm, but the situation is escalating. The horror comes from the realization that something is wrong with the building, and she's trapped.
I should also think about the aftermath. After the window explodes, what happens next? Maybe the building starts to collapse, or there's a supernatural event. But since it's a horror scene, maybe the building is being pulled apart by some force, and Diana has to deal with that.
Need to make sure the scene is vivid. Use strong imagery: the glass shattering, the sound of the explosion, the smell of smoke or metal, the feeling of the building tilting. Maybe include other sensory details like the cold air, the sound of people screaming, the visual of the city below.
Also, think about the pacing. Start with the swaying, then build up to the window exploding. Show Diana's reaction, the chaos, and the horror elements. Maybe include some flashbacks or memories that make the situation more intense.
I need to avoid clichés. Instead of a typical earthquake, maybe the cause is something more unique. Or focus on the psychological aspects of being trapped in a collapsing building. The horror comes from the combination of physical danger and the fear of the unknown.
Also, think about the structure of the scene. Start with the swaying, then the window explodes, then the chaos ensues. Maybe include other people's reactions, but keep the focus on Diana. Show her trying to survive, but the building is a character in itself, causing harm.
Make sure the language is vivid and descriptive. Use metaphors and similes to enhance the imagery. Avoid being too technical; focus on the emotional and sensory aspects.
Okay, time to start writing the scene. Start with Diana's perspective, describe the building swaying, then the window exploding. Show her reaction, the chaos, and build up to the horror elements. Make sure each paragraph is focused on different aspects of the scene to create a cohesive and intense narrative.
[[[thinking end]]]
OUTPUT:
Title: "The Sway"
The first time I noticed it, the building was tilting. At first, it was subtle—a faint creak in the foundation, like a sigh from an old friend. I was in the lobby, sipping coffee at 8:03 AM, when the glass幕墙 of the 21st-floor window began to shimmer. It wasn’’t the usual reflection of the city skyline; it was something else, something wrong. The light seemed to warp, as if the air itself were bending. I looked up, and there it was—the window, its edges glowing faintly, like a wound on the skin of the building.
I didn’t think much of it. Maybe it was a malfunction in the building’s systems, a glitch in the sensors that monitored the structural integrity. I told myself to ignore it, to go back to work, to pretend it wasn’t there. But as the hours passed, the tilt grew more pronounced. The building didn’t just sway—it moved, like a living thing, its spine curving ever so slightly toward the edge of the city.
I was alone that morning. No one else in the lobby, no one in the elevator, no one in the hallway leading to the 21st floor. I had a meeting with a client at 9:00 AM, but I’d rescheduled it to 10:00, thinking the delay would give me time to process the strange sensation. The building was supposed to be stable, a monolith of steel and glass, a testament to human ingenuity. But now, it felt like a ship in a storm, its hull groaning under the weight of an unseen force.
The tilt became more pronounced as the day wore on. I could feel it in my bones, a vibration that started in the soles of my feet and climbed up through my legs, into my spine, until it was a constant ache in my chest. The windows on the 21st floor were supposed to be unbreakable, reinforced with layers of tempered glass. But now, I could see the faintest crack running along the edge of one of them, like a spider’s web stretched across a windowpane.
I didn’t want to look at it again. I turned away, focusing on the task at hand—checking my notes, adjusting the posture of my body to maintain balance as the building shifted. But the tilt was getting worse. The floor beneath me felt like sand, shifting underfoot, and I could hear the faint crackle of metal bending, like a wire being stretched too far.
By 10:30 AM, the building had tilted enough that the windows on the 21st floor were no longer aligned with the city below. The skyline was a jagged line of buildings, their tops disappearing into the clouds as if the world itself were tilting away from them. I looked down, and for a moment, I saw the city as a mosaic of lights and shadows, the streets below a blur of movement and noise.
But then, I heard it—a sound like glass shattering, but not in the way I’d expected. It was high-pitched, a sharp crack that seemed to come from nowhere, yet it filled the air with a deafening resonance. I turned toward the source, my heart pounding in my chest, and there it was—the window on the 21st floor, its edges glowing faintly, as if it were alive.
The glass began to break, not with the dull crack of a normal fracture, but with a sound like a thousand tiny screams. The shards flew outward, some hitting the walls of the building, others shattering against the windows of the floors below. I could see people running, their faces twisted in terror as the glass rained down around them.
I didn’t move. I couldn’t. My body felt like it was glued to the spot, my breath coming in shallow gasps as the air around me thickened with the scent of burning metal and something else—something sweet and acrid, like burnt sugar.
The building tilted further, and I felt the ground beneath me shift, a sensation like being pulled from a dream. The walls of the 21st-floor corridor seemed to stretch away from me, their surfaces glowing faintly with the same eerie light that had been emanating from the window. I looked down again, and for a moment, I saw the city below as if it were a painting, its streets and buildings rendered in sharp, unnatural lines.
But then, the building moved. It wasn’t just tilting anymore—it was pulling itself away from the ground, as if some unseen force were trying to drag it into the sky. The air around me felt heavier, thicker, as though I were being suffocated by the weight of the world itself.
I tried to run, but my legs felt like they were glued to the floor, my body paralyzed by fear. The walls of the corridor seemed to stretch away from me, their surfaces glowing faintly with the same eerie light that had been emanating from the window. I looked down again, and for a moment, I saw the city below as if it were a painting, its streets and buildings rendered in sharp, unnatural lines.
The building tilted further, and I felt the ground beneath me shift, a sensation like being pulled from a dream. The walls of the 21st-floor corridor seemed to stretch away from me, their surfaces glowing faintly with the same eerie light that had been emanating from the window. I looked down again, and for a moment, I saw the city below as if it were a painting, its streets and buildings rendered in sharp, unnatural lines.
But then, the building moved. It wasn’t just tilting anymore—it was pulling itself away from the ground, as if some unseen force were trying to drag it into the sky. The air around me felt heavier, thicker, as though I were being suffocated by the weight of the world itself.