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 that's vivid and graphic horror from the first-person perspective of Diana. The key elements are the skyscraper swaying and the window exploding on the 21st floor. Let me start by visualizing the setting.
First, I need to establish the atmosphere. A skyscraper at night can be eerie. Maybe use sensory details—sounds, smells, visuals. The swaying could be a result of some external force, like wind or maybe something more supernatural. But since it's horror, perhaps the swaying is a sign of something wrong.
Diana is the POV character. She should feel the physical sensations: the movement, the cold, the sounds. Maybe she's alone, which adds to the tension. The window explosion needs to be graphic. I should describe the glass shattering, the fragments flying, maybe some body parts or other disturbing elements.
Wait, the user mentioned "graphic horror," so I need to be detailed but not too explicit. Maybe focus on the visual and auditory aspects. The swaying could be a metaphor for something more sinister, like the building is alive or being pulled by an unseen force.
I should start with Diana's immediate reaction to the swaying. Maybe she's in a high-rise, perhaps during a storm or some event that causes the building to move. Then, the window explodes. The explosion could be a result of something inside the building, like a fire or a supernatural event.
Need to build up the tension before the explosion. Maybe describe the building's usual state, then the sudden change. Use metaphors and similes to enhance the horror elements. Also, include internal thoughts and feelings to show Diana's fear and confusion.
I should make sure the scene flows from the initial swaying to the window breaking, then the aftermath. Maybe include other characters or just Diana alone. Since it's first-person, focus on her perspective and sensory experiences.
Check for consistency in the horror elements. The building's movement could be a sign of something larger, like a curse or a supernatural entity. The explosion might be a result of that entity's influence. Need to tie the events together logically within the scene.
Also, think about the pacing. Start with the swaying, build up to the window breaking, then the aftermath. Use vivid descriptions to immerse the reader. Avoid clichés but use familiar horror tropes effectively.
Make sure the word count is around 1000 words. Break down the scene into paragraphs, each focusing on different aspects: the building's movement, the window explosion, the aftermath, and Diana's reactions. Maybe include some flashbacks or internal monologue to deepen the character.
Need to ensure that the horror elements are consistent and escalate. The swaying could be a warning, then the window breaking as the climax. The aftermath might show the consequences of the event, like other parts of the building reacting or Diana's physical state.
Also, think about the setting details: the city skyline, the weather, the time of day. Maybe it's stormy, adding to the tension. Use specific details to make the scene more immersive.
Finally, end the scene with a lingering sense of dread or a new threat, leaving the reader with a feeling of unease.
[[[thinking end]]]
OUTPUT:
I’ve never been a fan of high places. The 21st floor of the Skyline Spire is a joke—its glass façade glints like a broken mirror in the moonlight, and the wind howls through its steel bones like a banshee wailing at a funeral. I’d rather be buried under a pile of dead rats than stand here, staring at the city below as if it were a chessboard. But there’s no time to think about that now. The building is moving, and I can feel it in my bones.
The first tremor came like a whisper. A faint shudder that didn’t belong to the wind. I was halfway through a glass of whiskey when it hit—my chair groaned as if a thousand rats had been gnawing at its frame. The floor beneath me felt like sand, and I barely caught myself before I’d fallen. My hands were shaking so hard I could barely grip the edge of my table.
“Diana,” I muttered, my voice cracking like a broken record player. “What the hell is going on?”
The building didn’t answer. But it was answering. The Spire tilted to the left, its steel skeleton groaning like a dying beast. The windows on the 21st floor—those were the ones I’d been staring at for hours, their reflections casting jagged shadows across the city below. I’d been trying to find a way out, but the elevator had been stuck for three days now, and the stairwell was a labyrinth of broken glass and shattered dreams.
The tilt got worse. The Spire wasn’t just swaying—it was pulling itself toward something. Like a ship caught in a storm, its hull groaning as it fought against the tide. I could feel the air thickening, heavy with the scent of ozone and something else—something metallic, like blood.
“Stop it,” I hissed, my voice barely audible over the roar of the wind. “You’re not supposed to be doing this.”
But the Spire didn’t listen. It tilted further, and I saw it now: the city below was moving. The skyline wasn’t just a static painting—it was a living thing, its buildings bending like reeds in a storm. The glass towers of the Financial District were tilting at impossible angles, their windows shattering like ice under a hammer.
I stumbled back, my knees buckling as the Spire’s tilt intensified. The floor beneath me felt like it was melting, and I could see the cracks forming in the concrete, like veins in a living thing.
“Diana,” I whispered again, my voice trembling. “What are you doing here?”
The question echoed in my mind, but there was no answer. The Spire wasn’t just moving—it was pulling me. A force, invisible yet undeniable, tugging at my limbs, my thoughts, my very soul. I tried to scream, but my throat felt like it was filled with sand.
Then the window exploded.
It happened so fast I didn’t have time to react. One moment, I was staring at the city below, and the next, the glass was flying. Shards of broken glass rained down like a thousand daggers, each one cutting deeper than the last. I could hear the sound of it—crackling, shattering, something like a thousand teeth gnashing against bone.
But that wasn’t all. The window didn’t just break—it split. A jagged line of light cut through the darkness, and in that light, I saw it: a figure, half-formed, its silhouette stretching like a shadow in a storm. It had no face, only a gaping maw of teeth and eyes that seemed to follow me as I moved.
“Get away from me!” I screamed, but my voice was swallowed by the wind. The figure didn’t move, but I could feel it watching me, its presence pressing against my chest like a fist.
The Spire tilted again, and I felt the force of it pushing me forward. I tried to run, but my legs were rooted to the spot, as if the building had taken root in my bones. The glass below was still falling, and I could see fragments of bodies—no, not bodies, but something else. Something alive.
A man with a torn shirt and a face like a mask of pain. A woman with a crown of broken glass and a smile that didn’t reach her eyes. A child with a single eye and a grin that didn’t match the horror in their eyes.
They were falling, but not in the way I expected. They were falling into the Spire, their bodies dissolving into light as they hit the glass. The building was alive, and it was feeding on them.
I tried to scream again, but my throat was dry, and the air tasted like iron. The figure in the window was closer now, its form shifting like smoke. I could feel its presence pressing against my mind, trying to force me into its world.
“Don’t let it in,” I whispered, my voice barely audible. “Don’t let it in!”
But the Spire didn’t listen. It tilted again, and I felt the force of it pulling me toward the window. The glass was still falling, but now I could see something else: a line of light, like a thread of fire, connecting the window to the figure in the distance.
I tried to move, but my legs were frozen. The Spire was alive, and it wanted me. It wanted me.
“Diana,” I whispered again, my voice trembling. “What are you doing here?”
The question echoed in my mind, but there was no answer. The Spire didn’t listen. It didn’t care. It just kept tilting, its steel skeleton groaning as it fought against the force that was pulling it down.
And I, a fool, was caught in the middle of it all.