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: sam-paech/Qwen3-4B-antislop-exp15
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 the perspective of Diana, where she's on the 21st floor of a skyscraper and witnesses a window explode. The user wants it to be vivid and graphic horror. Let me think about how to approach this.
First, I should establish Diana's environment. A skyscraper on the 21st floor—maybe it's a high-tech building with some kind of advanced tech or maybe something more ominous. The window exploding would be a key event. I need to make sure the scene is immersive, so sensory details are important: sounds, sights, smells.
The user mentioned "graphic horror," so I need to describe the explosion in a way that's both visually and physically intense. Maybe start with the building swaying, which could be a result of some kind of structural issue or external force. The window explosion could be caused by something like a missile, a bomb, or maybe an accident. But since it's horror, perhaps something more supernatural or apocalyptic?
Wait, the user didn key specify the cause of the explosion. Maybe I should leave it ambiguous or hint at something beyond normal causes. Also, the POV is Diana, so her reactions and perceptions are crucial. She might be in shock, trying to process what's happening, maybe with some internal monologue.
I need to build tension before the explosion. Maybe start with the building swaying, which could be a subtle thing at first, then escalate. The window explosion would be a climax. Then, after the explosion, the aftermath: the chaos, the destruction, Diana's state, and maybe some lingering effects or consequences.
Also, considering the length of 1000 words, I need to develop the scene thoroughly. Start with the setup, build up to the explosion, then the aftermath, and perhaps end with a lingering sense of dread or something unresolved.
I should also think about the setting: is it a city skyline? Maybe the building is in a major city, which adds to the scale of the horror. The skyscraper could be a symbol of something, maybe a corporate building, or maybe it's part of a larger event.
Diana's character: maybe she's a regular person, a worker, or perhaps someone with a specific role. Maybe she's alone on the 21st floor, or maybe there are other people around her. The explosion could be a sudden event that changes everything.
I need to make sure the scene is vivid. Use strong verbs and sensory details. For example, the sound of the glass shattering, the smell of burning metal, the feel of the wind, the visual of the explosion.
Also, think about the pacing: start with the swaying, then the building's reaction, then the window exploding, then the aftermath. Maybe include some internal thoughts from Diana as she processes what's happening.
Potential plot points: after the explosion, maybe there's a larger event, like a collapse, or something supernatural. But since it's just the start of the scene, maybe leave it open-ended.
I should also consider the tone: horror, so elements of fear, helplessness, maybe some surreal elements. The explosion could be a catalyst for more events.
Now, putting this all together into a coherent first-person narrative that starts with the building swaying and leads to the window explosion, with detailed descriptions and Diana's reactions.
[[[thinking end]]]
OUTPUT:
The skyscraper sways, as I watch the window in front of me on the 21st floor explode...
The building is a monolith of glass and steel, a vertical fortress that pierces the sky like a blade. I stand on the 21st floor, my back against the cold, unyielding surface of the wall, my fingers gripping the edge of a window frame that feels both solid and fragile at the same time. The wind howls through the narrow corridor between the buildings, a low, guttural sound that vibrates in my bones. I can’t tell if it’s the wind or something else—something wrong—but I’ve never felt so small in my life.
The building sways. Not just a little. It rocks like a ship in a storm, its foundation groaning as if the earth itself is trying to pull it down. I clutch the window frame tighter, my knuckles whitening. The sway is rhythmic at first, a subtle oscillation that makes me wonder if I’m imagining it. But then it changes. The movement becomes erratic, jagged, like the body of a man in a fit of madness. The windows on the 21st floor—my floor—begin to rattle. The glass shimmers under the glare of the sun, which is now a sickly, blood-red hue, as if the sky itself has been stained by something unseen.
I step back, my breath coming in short, sharp gasps. The air smells metallic, like burnt metal and something sweet and acrid that I can’t place. It’s not the smell of smoke, but something else—something wrong—and I’m suddenly aware that the building is no longer just a structure. It’s a living thing, breathing, twitching, and I’m trapped inside its ribs.
The sway intensifies. The windows on the 21st floor begin to rattle with a sound like broken glass and screaming teeth. I look down at my hands, my fingers trembling so badly I can’t straighten them. The building is moving, and it’s not just the building. It’s something inside it. Something that’s been building up for days, weeks, maybe even years.
I hear a sound—a low, guttural growl that starts in the distance and works its way toward me, like a beast waking from a long slumber. The sound is not mechanical, but organic, as if something alive is inside the building, moving through the walls, eating at them. I turn my head, my eyes scanning the skyline, but there’s nothing to see except the endless expanse of city lights and the faint, sickly glow of the sun.
The building sways again, and this time, it’s not just the building. It’s me. I feel it in my bones, a deep, primal vibration that starts at my feet and works its way up through my spine. The walls are no longer solid; they’re alive, pulsing with a rhythm that matches the beat of my own heart. I can’t breathe properly anymore, my lungs burning as if I’ve been choking on something I can’t name.
Then it happens.
A sound like a thousand glass shards shattering in unison. A sound like a thousand screams, all at once, overlapping and colliding in a cacophony that makes my ears ring. I turn my head just in time to see the window in front of me—my window—explode.
It’s not just the glass. It’s the entire window, a massive pane of reinforced steel that should have been impenetrable. The explosion is beautiful and terrible at the same time. The glass shatters into a thousand pieces, each one glowing with an eerie, greenish hue. The sound is deafening, a thunderous roar that shakes the very air around me.
I’m thrown back against the wall, my body slamming into the cold, unyielding surface of the building. I can’t move, can’t breathe, can’t think. All I can do is watch as the window explodes, as if the building itself is screaming in protest.
The explosion is followed by a thud, a sound like something massive hitting the ground. I look down and see the street below—the street—a sea of cars, people, and buildings that should have been solid and unyielding. But now, they’re all moving, shaking, screaming. The streets are no longer streets; they’re a battlefield of chaos and destruction.
I try to move, but my legs are rooted to the spot, my body paralyzed by fear and something deeper—something I can’t name. The building is still swaying, still moving, and I feel it in my bones, in my blood, in every cell of my being.
Then I hear it again—the low, guttural growl that started at the beginning. It’s louder now, closer, and I realize it’s not just coming from inside the building. It’s coming from everywhere. From the streets below, from the buildings around us, from the sky itself. It’s a sound that is both mechanical and organic, a sound that is alive, and I’m suddenly aware that the building is no longer just a structure. It’s a creature, and I’m trapped inside its body.
The building sways again, and this time, it’s not just the building. It’s me. I feel it in my bones, in my blood, in every cell of my being. The walls are no longer solid; they’re alive, pulsing with a rhythm that matches the beat of my own heart. I can’t breathe properly anymore, my lungs burning as if I’ve been choking on something I can’t name.
I try to move, but my legs are rooted to the spot, my body paralyzed by fear and something deeper—something I can’t name. The building is still swaying, still moving, and I feel it in my bones, in my blood, in every cell of my being.