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, the user wants a 1000-word scene in first person from Diana's perspective, vivid and graphic horror, starting with the skyscraper swaying and a window exploding on the 21st floor. Let me break this down.
First, I need to establish Diana's immediate reaction to the event. The skyscraper swaying is a key element—maybe she's inside, so the movement affects her. The window explosion needs to be graphic but not too cliché. I should focus on sensory details: sounds, sights, maybe the smell of burning metal or something else.
I need to build tension. Maybe Diana is in a situation where she's not prepared for this. Perhaps she's in a high-rise, maybe a tourist or someone who's been there before. The swaying could be due to an earthquake, but that might be too common. Alternatively, it's a supernatural event, like the building is alive or something else. Wait, the user didn an explicit explanation, so I should keep it ambiguous.
The window explosion—how does that happen? Maybe a structural failure, or something more sinister. The user wants graphic horror, so I need to describe the explosion in detail: the glass shattering, the sound, the debris, maybe the smell of burning. Also, the aftermath: what happens next? Does Diana survive? What's the cause?
I should start with the swaying. Maybe she's in a high-rise, perhaps she's been there before, but now something is wrong. The building is moving unnaturally. Then the window explodes. She's inside, so the impact is immediate. Maybe she's in a room with other people, or alone? If alone, that adds to the horror.
I need to make sure the scene is vivid. Use strong verbs and sensory details. Show her fear, confusion, maybe panic. The building swaying could be a metaphor for something else, but since it's a horror scene, maybe it's literal. Maybe the building is being attacked by something, or it's a trap.
Also, think about the pacing. Start with the swaying, then the window explodes, then the aftermath. Maybe include her reactions: what she sees, hears, feels. Maybe other people are affected too. Maybe the building is collapsing, or something else happens.
I need to avoid clichés. The window explosion could be part of a larger event. Maybe the building is being destroyed by an external force, but that's not clear. Alternatively, it's a supernatural event where the building is alive and attacking. Or maybe it's a metaphor for something else, like the building is a character in itself.
Also, think about the setting: skyscraper, 21st floor. Maybe it's a high-rise in a city, perhaps a place she's been to before. The window explosion could be part of a larger sequence of events leading to her downfall or survival.
I need to make sure the scene is around 1000 words. Start with the swaying, then the window explodes, then the aftermath. Maybe include her trying to escape, but the building is collapsing. Or she's trapped, and the building is falling apart. The horror comes from the immediacy of the event and the chaos.
Also, think about the first-person perspective. Diana's thoughts, her fears, her physical reactions. Maybe she's in a situation where she's not prepared for this, leading to her panic. The window explosion could be a turning point in the story, leading to her survival or death.
I need to make sure the scene is vivid and graphic. Use strong imagery: the sound of the glass breaking, the smell of burning metal, the sight of debris flying, the physical sensations of the building swaying. Maybe include the aftermath: what happens after the window explodes? Does she survive? What's the cause?
Also, think about the structure. Start with the swaying, build up to the window exploding, then the aftermath. Maybe include other people in the scene, but focus on Diana's perspective. Maybe she's alone, which adds to the horror.
I need to avoid making it too predictable. The building swaying could be a result of something unexpected, like a supernatural force or an external event. The window explosion is a key moment that leads to the climax of the scene.
Also, think about the tone: horror, maybe with elements of suspense and fear. Use descriptive language to create a sense of impending doom. Maybe the building is not just swaying but something more sinister, like it's alive or being attacked by something.
In summary, start with Diana in a skyscraper, the building starts to sway unnaturally, she notices something wrong, then the window explodes, leading to chaos and her reaction. Make sure to include sensory details and build tension throughout the scene.
[[[thinking end]]]
OUTPUT:
I’ve never been one for superstition, but the moment the skyscraper began to sway, I knew something was wrong. It wasn’t the usual creak of steel or the subtle groan of concrete that had always accompanied my visits to this building. This was different—like the building itself was alive, breathing in a way that defied physics. I stood on the 21st floor, my fingers brushing the edge of the glass window as I watched the city below blur into a chaotic mosaic of motion and color. The sun had just dipped below the horizon, casting long shadows across the skyline, but the swaying was relentless, a slow, deliberate rhythm that made my skin prickle.
The building moved like a living thing, its frame groaning as if it were a giant, ancient beast stretching its limbs. I’d never seen anything like it before—no earthquake had ever caused such a violent, unnatural sway. The windows on the 21st floor were meant to be unshakable, their reinforced glass designed to withstand the harshest storms. But now, they were trembling, and I could feel the vibrations in my bones, a low, resonant hum that seemed to emanate from the very core of the structure.
I turned to my companion, Marcus, who stood beside me, his face pale but his posture rigid. He was a photographer, always chasing the perfect shot, and he’d been here before. “Did you feel that?” he asked, his voice barely above a whisper. I nodded, my throat dry. “It’s like the building’s trying to breathe,” I said, though I didn’t know what that meant.
Then, the first crack. It was a sound—a sharp, shattering noise that echoed through the air like a gunshot. I turned just in time to see it: a section of the glass window on the 21st floor splitting apart, its edges glowing faintly as if heated by an unseen force. The glass didn’t fall; it shattered into a thousand pieces, each fragment flying outward like a bullet from a gun. The air around it was thick with a metallic scent, and for a moment, I thought I could see the faint outline of something moving beneath the glass—a shadow, or maybe a shape that wasn’t quite solid.
Marcus screamed, his voice cutting through the chaos as he stumbled back, his hands raised to shield his face. I didn’t know what to do. My legs felt like they were made of lead, my mind racing with questions I couldn’t answer. The building swayed again, this time more violently, and the glass on the windows around us began to crack in a pattern that looked almost deliberate—like someone had been trying to carve a message into the structure.
“Get down!” I shouted, but Marcus was already moving, his body twisting as he tried to avoid the falling debris. I didn’t follow. I couldn’t. The building was moving too fast, its swaying now a violent, rhythmic motion that seemed to pull at the air itself. I clutched the edge of the window, my fingers digging into the glass as if I could anchor myself to something real.
Then came the second explosion. This one was louder, more explosive, and it sent a shockwave through the building that made me stagger back, my ears ringing. The glass on the windows around us shattered in a cascade of shards, some of them flying toward the ground below while others clung to the walls like broken teeth. I could see people below—tourists, workers, maybe even the security guards who had been stationed here—but they were too far away to do anything.
The building swayed again, this time with a force that made me feel like I was being pulled from the ground. My stomach twisted as I looked down and saw the city below, its skyline now a blur of motion and color. The sun had disappeared, but the sky was still alive with light, casting long shadows across the streets below. I could see the reflections of the shattered glass in the windows of nearby buildings, their surfaces fractured like broken mirrors.
“Diana!” Marcus’s voice cut through the chaos, but I didn’t turn. I couldn’t. The building was moving too fast, its swaying now a violent, rhythmic motion that seemed to pull at the air itself. I could feel the vibrations in my bones, a low, resonant hum that seemed to emanate from the very core of the structure.
Then came the third explosion. This one was different. It wasn’t a sound, but a feeling—a deep, resonant vibration that made my body shudder. The building swayed again, this time with a force that made me feel like I was being pulled from the ground. I could see the glass on the windows around us shattering in a pattern that looked almost deliberate—like someone had been trying to carve a message into the structure.
I tried to move, but my legs felt like they were made of lead. The building swayed again, this time with a force that made me feel like I was being pulled from the ground. I could see the city below, its skyline now a blur of motion and color. The sun had disappeared, but the sky was still alive with light, casting long shadows across the streets below. I could see the reflections of the shattered glass in the windows of nearby buildings, their surfaces fractured like broken mirrors.
“Diana!” Marcus’s voice cut through the chaos, but I didn’t turn. I couldn’t. The building was moving too fast, its swaying now a violent, rhythmic motion that seemed to pull at the air itself. I could feel the vibrations in my bones, a low, resonant hum that seemed to emanate from the very core of the structure.
The building swayed again, and this time, I saw it. Something was moving beneath the glass, something that wasn’t quite solid but was definitely there. It was a shape, a form that seemed to be trying to break through the glass, to reach out and touch the world beyond. I could see it now, a dark, shifting mass that seemed to pulse with a life of its own. It was like a shadow that had taken on a form, a thing that wasn’t quite real but was definitely there.
I tried to move, but my legs felt like they were made of lead. The building swayed again, this time with a force that made me feel like I was being pulled from the ground. I could see the city below, its skyline now a blur of motion and color. The sun had disappeared, but the sky was still alive with light, casting long shadows across the streets below. I could see the reflections of the shattered glass in the windows of nearby buildings, their surfaces fractured like broken mirrors.
“Diana!” Marcus’s voice cut through the chaos, but I didn’t turn. I couldn’t. The building was moving too fast, its swaying now a violent, rhythmic motion that seemed to pull at the air itself. I could feel the vibrations in my bones, a low, resonant hum that seemed to emanate from the very core of the structure.