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 Diana's perspective. The setting is a skyscraper that's swaying, and she's watching the window on the 21st floor explode. Let me think about how to approach this.
First, I should establish Diana's character. Maybe she's a regular person, not someone with any special skills or background. That makes her relatable. The skyscraper swaying is a key element—maybe it's due to some external force, like an earthquake or a structural issue. But since it's horror, perhaps something supernatural is at play.
The window exploding needs to be vivid and graphic. I should describe the moment in detail: the sound, the visual effects, the physical sensations. Maybe the glass shatters, and there's a lot of debris flying around. Diana's reaction is important too—her fear, confusion, maybe panic.
I need to build tension gradually. Start with the swaying of the building, then the window breaking, leading to more chaos. Maybe other parts of the building start to fail or something supernatural happens. The horror elements could include things like the building's structure being unstable, or maybe something lurking in the shadows.
Also, think about the setting: a modern skyscraper, maybe in a city. The time period isn1t specified, so I can choose a recent one. The weather could be stormy to add to the atmosphere. Maybe there's a storm approaching, causing the building to sway more.
Diana's POV means I have to focus on her senses: what she sees, hears, feels. Her thoughts and emotions. Maybe she's alone, or maybe someone else is with her. If she's alone, that adds to the horror. She might be trying to escape, but the building is collapsing around her.
I should also consider the cause of the swaying. Is it a natural disaster, or something more supernatural? Maybe the building is cursed, or there's some hidden force causing it. The window explosion could be a result of that force, leading to more chaos.
Need to make sure the scene is vivid and graphic. Use sensory details: the sound of the glass breaking, the smell of smoke or metal, the feel of cold air, the visual of debris flying. Maybe include some metaphors or similes to enhance the imagery.
Also, think about the pacing. Start with the swaying, then the window breaking, then the aftermath. Maybe introduce other elements like people panicking, the building's structure failing, and a climax where something supernatural happens.
I should also consider the resolution or the end of the scene. Does Diana survive? Or is she trapped? The horror aspect could be about survival, the unknown, or the inevitability of death.
Need to check for consistency in the story. Make sure the cause of the swaying and the window breaking are connected. Maybe the building's foundation is unstable, or there's some hidden force causing it. The window breaking could be a result of that instability.
Also, think about the title or the name of the skyscraper. Maybe it's a famous one, but since it's fictional, I can create a name. Or maybe it's a generic skyscraper in a city.
I should also consider the setting details: the time of day, the weather, the surroundings. Maybe it's a stormy night, adding to the tension. The building could be surrounded by other structures, but since it's a skyscraper, maybe it's isolated.
In terms of structure, start with Diana noticing the swaying, then the window breaking, then the chaos, leading to a climax where something happens. Maybe she tries to escape, but the building is collapsing, and there's a supernatural element involved.
I need to make sure the horror elements are present throughout. The window breaking is just the beginning; maybe there's more to come. The swaying could be a sign of something bigger, like the building is being pulled down by an unseen force.
Also, think about the emotional impact on Diana. Her fear, desperation, maybe some flashbacks or memories that make her fear worse. Maybe she's trying to remember something, but it's all hazy now.
I should also include some physical actions: Diana running, trying to get out, maybe getting hurt, or being trapped. The horror comes from the combination of the physical danger and the supernatural elements.
Need to avoid clichés but still make it relatable. Maybe the building is a symbol of something, like a place where people have died before, or it's a cursed location.
Also, think about the ending. Does Diana survive? Or is there a twist where she realizes the building is part of something larger, like a test or a trap?
Okay, time to start writing the scene with these elements in mind. Make sure each paragraph builds on the previous one, increasing tension and horror. Use vivid descriptions and focus on Diana's perspective.
[[[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 trembling with a rhythm that feels almost deliberate. I stand at the edge of the 21st-floor observation deck, my back pressed against the cold, unyielding glass. The wind howls through the narrow gap between the windows, a sound that feels less like a storm and more like a warning. My fingers curl into fists, nails biting into my palms as I try to steady myself against the vertigo that threatens to pull me under.
The building sways. Not just a little—no, this is something else. It’s not the kind of sway that comes with a passing breeze or the subtle creak of metal in a storm. This is a movement that feels wrong, as if the structure itself is being pulled by an unseen force, like a giant hand clawing at its sides. I’ve never seen a skyscraper move like this before. The glass windows on the 21st floor are all that remain between me and the abyss below, and for a moment, I think about how far down I am—how many stories of concrete and steel separate me from the ground.
Then it happens.
A sound, sharp and sudden, like a blade slicing through air. The glass on the window to my left shatters with a crack that echoes through the building, followed by a deafening BOOM that rattles the very bones of the structure. I spin around, heart pounding, and see it: the window is gone. A jagged hole where the glass once stood, its edges still smoking from the heat of the explosion. Debris—shards of glass, metal fragments, and something else that looks like a piece of human skin—flies outward in all directions.
I stumble back, my breath coming in short, panicked gasps. The air smells metallic, like blood and burning plastic. My shoes skid against the floor as I try to regain my footing, but the building is moving faster now. The sway grows more pronounced, each oscillation sending a chill down my spine. The windows on either side of me begin to rattle, their frames groaning under the strain.
“Diana, what’s happening?” I hear a voice call out from somewhere below, but it’s muffled by the roar of the wind. I don’t know who is speaking—maybe someone else in the building, or maybe it’s just my own voice echoing in my head. I can’t tell. The only thing that matters now is the window.
The building sways again, and this time, the window on the far side of the deck shatters with a sound like a thousand glass bottles being crushed. I freeze, my eyes locked on the hole where the glass once was. Something is wrong. The edges of the hole are still smoking, but there’s something else—something moving—inside the gap.
I step closer, my legs shaking as I try to make sense of what I’m seeing. The hole is not just a void; it’s a gaping maw, its edges flickering with an eerie blue light. The air around it feels heavier, thicker, as if the building itself is trying to pull me into it. My fingers twitch, but I can’t reach the edge of the hole. It’s too far, too wide.
“Get back!” someone shouts again, but this time the voice is closer. I turn, my heart pounding, and see a man in a business suit running toward the edge of the deck. His face is pale, his eyes wide with terror. He’s trying to get to the window, but the building is moving too fast for him to keep up.
I don’t know what he’s doing, but I can’t let him go. I run toward him, my feet slipping on the slick floor as I try to reach the edge of the window. The building sways again, and this time, the man is thrown backward, his body hitting the glass with a sickening crunch. He doesn’t move.
I stop, my breath coming in ragged gasps. The man’s body lies in the center of the hole, his face frozen in a look of terror that makes my stomach churn. I step back, but the building is moving faster now. The sway is no longer just a vibration—it’s a rhythm, a pattern, as if the building is trying to pull me into it.
The wind howls louder, and for the first time, I hear something else. A low, guttural sound that doesn’t belong to the storm. It’s coming from the hole in the window, a sound like a thousand voices whispering in a language I don’t understand. The air around the hole feels colder, and I can feel my breath fogging up in front of me as I try to focus on what’s happening.
The building sways again, and this time, I see it. Something is moving inside the hole. It’s not just a void—it’s a presence, something that feels alive, something that’s been waiting for this moment. The blue light from the hole intensifies, and I can see shapes flickering within it, like shadows caught in a storm.
I take a step back, my legs trembling as I try to make sense of what I’m seeing. The building is moving faster now, its sway becoming a steady rhythm that feels like a heartbeat. I think about how far down I am, how many stories of concrete and steel separate me from the ground. I think about the man who lies in the hole, his body frozen in a look of terror that makes my stomach churn.
Then, the building sways again, and this time, I feel it. A force, something that pulls at my limbs, a sensation like being pulled into a black hole. My vision blurs, and for a moment, I see everything—my face, the hole in the window, the man’s body, the stormy sky above me—all of it dissolving into a vortex of light and shadow.
I don’t know how long I’m there, but when I open my eyes again, the building is still. The sway has stopped, and the wind has died. The hole in the window is gone, replaced by a smooth, unbroken surface of glass that reflects the stormy sky above. I step back, my legs shaking as I try to make sense of what just happened.
The man’s body is gone. The hole is gone. The building is still. But something else is there—something that feels like a presence, something that lingers in the air, waiting for me to look again.
I turn away from the window, my heart pounding as I try to make sense of what just happened. The building is silent now, but the wind still howls through the narrow gap between the windows. I don’t know what I just saw, but I know one thing: the building is no longer just a building. It’s something else. Something that’s been waiting for this moment, and it’s not done with me yet.