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 the user wants a 1000-word scene in first person from Diana's perspective, set in a skyscraper on the 21st floor where the window explodes. The key elements are vivid, graphic horror, and a focus on the protagonist's experience.
First, I need to establish the setting. A skyscraper on the 21st floor is high up, so the environment should feel isolated and confined. Maybe the building is in a city with a lot of activity below, but Diana is alone, which adds to the horror. The window explosion needs to be sudden and shocking. I should describe the moment of impact in detail—sounds, visuals, the physical sensations.
Diana's POV means I have to focus on her internal thoughts and feelings. She might be scared, confused, or trying to make sense of what's happening. The explosion could be a result of something unexpected, like a malfunction or an external event. Maybe there's a hidden threat in the building, like a hidden room or a secret that's been revealed.
I need to build tension before the explosion. Perhaps Diana is alone, maybe she's been waiting for something, or she's been observing the building for a reason. The skyscraper swaying could be a result of an earthquake, a structural issue, or something more supernatural. The window exploding could be a metaphor for something bigger, like a revelation or a turning point.
The scene should have a lot of sensory details: sounds of breaking glass, the smell of smoke, the feel of the wind, the visual of the explosion. Maybe there's a flashback or a memory that ties into the event. The horror element could come from the suddenness of the event and the realization that something is wrong with the building.
I should also think about the aftermath. After the window explodes, what happens next? Does Diana survive? Are there more explosions? How does she react to the chaos? The story needs to show her struggle for survival and the psychological impact of the event.
I need to make sure the language is vivid and graphic, using strong imagery and sensory details. The horror should be visceral, making the reader feel the fear and chaos. Also, the pacing should be tight, with short sentences and impactful moments to maintain tension.
Potential plot points: Maybe the skyscraper has a secret, like a hidden lab or a secret experiment. The window explosion could be part of that. Or it's a result of a malfunction in the building's systems. Diana might be an employee or someone who's been there for a long time, leading to a deeper mystery.
I should also consider the structure of the scene. Start with the swaying of the skyscraper, then build up to the explosion, describe the event in detail, and then the aftermath. Maybe include some internal monologue about Diana's thoughts during the event, her fears, and her determination to survive.
Need to avoid clichés and make the horror unique. Perhaps the building is not just a physical structure but has a metaphysical element, or the explosion is a result of something more sinister. The key is to create a sense of impending doom and the suddenness of the event to heighten the horror.
[[[thinking end]]]
OUTPUT:
The skyscraper sways, as I watch the window in front of me on the 21st floor explode...
The building groans like a living thing, its steel frame creaking under the weight of the storm that has been gathering since dawn. I stand at the edge of the observation deck, my breath fogging the air as I try to steady myself against the cold glass. The wind howls through the narrow space between the windows, a sound that feels both mechanical and organic, like the whine of a machine on the verge of breaking. I’ve been here for hours—hours that feel like days—waiting for something. Waiting for the moment when the building would finally betray me.
The 21st floor is the highest point in this city, a place where the skyline is a jagged silhouette of towers and bridges, all of them reaching for the sky like desperate fingers. But here, at the top, the world feels smaller, more confined. The air is thin, and every breath feels like a struggle against gravity. I’ve never been one for heights, but this building has a way of pulling you in. It’s not just the view—it’s the silence. The way the wind whispers through the steel beams, the way the shadows stretch long and thin across the glass floor below.
I’ve been told that the building is haunted. That the engineers who designed it once whispered about a secret room hidden behind the reinforced concrete, a place where time folds in on itself and the walls bleed. I don’t believe in ghosts, but I do believe in secrets. And tonight, I’m not just waiting—I’m watching.
The first crack appears like a spider’s web across the glass, thin and pale, barely visible in the dim light of the evening. I blink, trying to dismiss it as a trick of the eye, but the line of cracks spreads faster than I can follow. The glass is flawless—no imperfections in its surface, no flaws in its composition. Yet here it is, splitting like a fault line in the earth.
I step back, my boots scuffing against the polished floor as I move away from the window. The building shudders again, a low, resonant sound that vibrates through my bones. The wind picks up, and for a moment, I think I see something—something moving in the shadows between the windows. A shape, just beyond the edge of the glass, flickering like a mirage.
Then it happens.
A deafening crack splits the air, followed by a sound like shattering ice. The glass is gone in an instant, replaced by a jagged, blood-red tear that splits the window in two. The wind howls louder now, a sound that feels like a scream, and I’m thrown backward as the force of the explosion sends me stumbling against the wall. My hands grip the steel frame, my fingers numb from the cold, but I don’t let go.
The building is on fire.
Smoke rises in thick, black tendrils from the broken window, curling into the night sky like the breath of a dying thing. The air is thick with the smell of burning plastic and metal, a scent that makes my stomach churn. I look down at my hands—my fingers are stained with blood, not from the glass, but from something else. Something that feels like it’s been inside me all along.
I stumble to the edge of the deck, my legs shaking as I try to steady myself. The wind is stronger now, a howling gale that seems to come from everywhere at once. Below, the city below is a blur of lights and movement, but I can’t see it clearly. The smoke has swallowed the skyline, turning the world into a haze of red and black.
I hear voices—far away, but unmistakable. People shouting, some in panic, others in anger. The sound of footsteps, hurried and frantic, echoing through the corridors of the building. I don’ t know where they are, but I know they’re not alone.
The building is falling apart.
The steel frame groans again, this time with a sound that feels like a warning. The wind has changed direction, now coming from the east, and with it comes a sound that isn’t quite wind—it’s something else. A low, guttural noise, like the growl of a beast trapped in a cage. I turn my head, trying to see what’s happening, but the smoke is too thick, the air too heavy.
Then I hear it.
A sound like a thousand tiny explosions, each one closer than the last. The building is splitting, not just in the window, but everywhere. The walls are cracking, the floors groaning under the weight of something unseen. I can feel it now—a pressure, a force that isn’t physical but is somehow real, pressing against my chest, my ribs, my skull.
I’m not alone.
The wind carries a voice, distant but unmistakable. It’s not human. It’s not a scream or a shout—it’s something older, something that has been waiting for this moment. The building is a prison, and I’m the key.
I stumble back, my legs moving on instinct, my body driven by a force I can’t name. The wind is stronger now, a howling gale that feels like it’s tearing through me. I don’t know where I am, but I know I have to run.
The building is falling apart, and I’m not sure if it’s the building that’s falling or something else entirely.
I turn, my back to the window, and run.