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. The key elements are the skyscraper swaying and a window exploding on the 21st floor. Let me start by visualizing the setting. A high-rise building, maybe in a city with a lot of activity. The swaying could be due to wind or some external force. The window explosion needs to be intense and shocking.
First, I need to establish Diana's emotions and the environment. Maybe she's alone, which adds to the tension. The skyscraper swaying could be a metaphor for instability, both physically and mentally. The window explosion should be a pivotal moment that triggers her fear and the horror sequence.
I should start with sensory details: sounds, sights, maybe the feel of the air. The window explosion needs to be described in a way that's both graphic and horrifying. Maybe include the aftermath—people falling, debris, chaos. Also, think about the cause of the swaying. Is it a storm? A structural issue? Maybe something supernatural?
Wait, the user didn't specify the cause, so I can leave it ambiguous. Focus on Diana's experience. Use first-person to make it personal and immediate. The window explosion is the catalyst for the horror. After that, show the consequences: people falling, the building's reaction, maybe a deeper threat.
Need to build up the tension before the explosion. Maybe Diana is in a panic, trying to escape, but the building is collapsing. Use vivid imagery: blood, screams, chaos. Make sure the scene flows from the initial swaying to the explosion, then the aftermath. Keep paragraphs short and impactful. Avoid clichés but use strong metaphors. Check for consistency in the setting and character's actions. Ensure that the horror elements are both physical and psychological.
[[[thinking end]]]
OUTPUT:
The Skyscraper Sways
The first thing I noticed was the wind. It wasn’t just a breeze—no, it was a howl, a low, guttural sound that vibrated through my bones like a living thing. I was on the 21st floor of the Helix Tower, one of the tallest structures in the city, its glass façade reflecting the neon glow of the skyline. But as I stood there, gripping the railing of my office window, I realized the wind wasn’t just moving air—it was shaking the building.
The skyscraper swayed. Not gently, not with the lazy rhythm of a breeze, but with a violent, unnatural motion, like a living thing thrashing against its chains. The windows on the 21st floor rattled as if they were being pried open from the inside. I could see the glass shuddering, the reflections of the city below distorting into jagged, fractured images. My fingers tightened around the railing, but my hands were already slick with sweat, cold and clammy, as though I’d been submerged in ice water.
I didn’t know why the building was swaying. It wasn’t a storm—no, the sky was clear, the air still, save for the unnatural wind that had begun to rise from the city below. I thought maybe it was a malfunction in the building’s stabilizers, but the sway was too deliberate, too mechanical, like something ancient and wrong had been awakened beneath the concrete.
Then I saw it.
A window on the 21st floor exploded.
It happened so fast I didn’t have time to react. The glass shattered with a sound like a thousand glass bottles being crushed in a single, deafening crack. A plume of blood and debris shot into the air, and for a moment, the world seemed to freeze. The wind stopped. The building stopped swaying. And then—
It didn’t.
The building kept moving. The sway continued, but now it was faster, more violent, as if the structure itself were alive and trying to escape its own cage. The window’s remains fell like a grotesque, bloody curtain, and I could see people below—workers, tourists, maybe even the city’s elite—falling from the windows as though they were being pulled by invisible threads. One man in a business suit hit the pavement with a sickening thud, his body twisting mid-air before he hit the ground like a ragdoll.
I stumbled back, my breath coming in short, panicked gasps. My heart pounded in my chest, a frantic drumbeat that seemed to echo through the very air around me. The wind had stopped, but the building’s sway had only intensified. The glass of the windows on the 21st floor now looked like they were being pried open from the inside, as if something—someone—was trying to get out.
I didn’t know what I was seeing. I didn’t know why the building was moving like this. But I knew one thing: I wasn’t going to let it take me with it.
I turned and ran, my feet slipping on the polished marble floor as I sprinted toward the elevator. The doors were open, their silver panels glinting in the artificial light of the lobby below. I didn’t stop to think about where I was going—I just needed to get down, to get away from this place that felt like it was trying to kill me.
The elevator ride down was a blur of motion and fear. The buttons blinked erratically as if they were malfunctioning, and the walls of the elevator seemed to press in on me, closing in like a suffocating vice. I didn’t look at the floor numbers; I just pressed the button for the first floor, hoping that would be enough.
But when the elevator reached the ground, the doors opened to reveal a chaos I hadn’t expected. The lobby was a nightmare of broken glass and blood, the once-pristine marble floor now littered with the remains of people who had fallen from the 21st floor. A woman in a red dress lay sprawled across the entrance, her face twisted in a silent scream that never left her lips. A man in a suit was half-buried in the debris, his body still warm despite the cold air.
I didn’t stop to look at them. I just ran, my feet pounding against the concrete as I sprinted toward the exit. The city below seemed to pulse with life, but there was something wrong about it—something wrong that I couldn’t place. The buildings around me were still, their windows unbroken, but the air felt thick, heavy, as though it were holding its breath.
I didn’t stop until I reached the street, where the city’s usual hum had been replaced by a low, guttural sound that seemed to come from everywhere and nowhere at once. The wind was still there, but now it felt different—like it was carrying something with it, something that wasn’t quite human.
I looked up at the Helix Tower again, its glass façade now a jagged, broken thing, as if the building itself had been torn apart by some unseen force. The windows on the 21st floor were still open, their frames shattered and bloodied, and I could see movement inside—figures moving, shapes that didn’t quite look human, their forms stretching and twisting as if they were trying to get out.
I didn’t know what I was seeing. I didn’t know what I had done. But I knew one thing: I wasn’t going back.
I turned and ran, my feet pounding against the pavement as I sprinted toward the nearest exit, away from the building that had tried to kill me. The city below seemed to pulse with life, but there was something wrong about it—something wrong that I couldn’t place. The buildings around me were still, their windows unbroken, but the air felt thick, heavy, as though it were holding its breath.
I didn’t stop until I reached the street, where the city’s usual hum had been replaced by a low, guttural sound that seemed to come from everywhere and nowhere at once. The wind was still there, but now it felt different—like it was carrying something with it, something that wasn’t quite human.
I looked up at the Helix Tower again, its glass façade now a jagged, broken thing, as if the building itself had been torn apart by some unseen force. The windows on the 21st floor were still open, their frames shattered and bloodied, and I could see movement inside—figures moving, shapes that didn’t quite look human, their forms stretching and twisting as if they were trying to get out.
I didn’t know what I was seeing. I didn’t know what I had done. But I knew one thing: I wasn’t going back.