A stranger, yet radically different version of Kalmaze's "Qwen/Qwen3-30B-A3B" with the experts pruned to 64 (from 128) and then I added 4 layers expanding the model to 18B total parameters.
The goal: slightly alter the model, to address some odd creative thinking and output choices.
Please note that the modifications affect the entire model operation; roughly I adjusted the model to think a little "deeper" and "ponder" a bit - but this is a very rough description.
I also ran reasoning tests (non-creative) to ensure model was not damaged and roughly matched original model performance.
That being said, reasoning and output generation will be altered regardless of your use case(s).
FOUR example generations below; with example 4 showing a complex prompt and impressive prose that showcases some of the changes in the model.
This is a MOE (Mixture of experts model) with 8 of 64 experts activated by default, which is about 3B parameters.
This allows use of this model (with 8 experts) on both CPU (20-35 T/S) or GPU (90+ T/S) at very good, to extremely fast speeds.
Changing the number of experts used (see below how) will affect both generation speed and generation reasoning/output quality.
You can use this model with as low as four experts activated.
Even the lowest quant - Q2k - will operate very strongly too.
Model is set at:
QUANTS:
There are two sets of quants, regular and "MAX" (in the filename) with output tensor set at float16 (16 bit - full precision) to enhance performance including reasoning.
SYSTEM PROMPT:
You may or may not need to set 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.
CHANGE THE NUMBER OF ACTIVE EXPERTS:
See this document:
https://huggingface.co/DavidAU/How-To-Set-and-Manage-MOE-Mix-of-Experts-Model-Activation-of-Experts
SUGGESTED SETTINGS (creative):
SPECIAL NOTES - Experts / REP PEN / TEMP:
BEST SETTING:
I found the best results during testing (stable thinking, generation, minimal issues) were (this applies to org model 16B-A3B too):
You may find that Qwen's default parameters/samplers also work better for your use case(s) too.
Please refer to the orginal model repo for all default settings, templates, benchmarks, etc.:
https://huggingface.co/Qwen/Qwen3-30B-A3B
For more information on quants, using this model on CPU / GPU, System Prompts, please see this model card:
https://huggingface.co/DavidAU/Qwen3-128k-30B-A3B-NEO-MAX-Imatrix-gguf
SPECIAL NOTE:
As this model is pruned from 128 experts to 64, it may not have the "expert(s)" you need for your use case(s) or may not perform as well as the full "128" expert version.
The full 128 expert version (33B) of "Stranger-Thoughts" is located here:
https://huggingface.co/DavidAU/Qwen3-33B-A3B-Stranger-Thoughts-GGUF
NOTE - Jinja Template / Template to Use with this Model:
If you are having issues with Jinja "auto template", use CHATML template.
OR (LMSTUDIO users / option)
Update the Jinja Template (go to this site, template-> copy the "Jinja template" and then paste.)
[ https://lmstudio.ai/neil/qwen3-thinking ]
OR
copy JINJA source from here:
{%- if tools %}
{{- '<|im_start|>system\n' }}
{%- if messages[0].role == 'system' %}
{{- messages[0].content + '\n\n' }}
{%- endif %}
{{- "# Tools\n\nYou may call one or more functions to assist with the user query.\n\nYou are provided with function signatures within <tools></tools> XML tags:\n<tools>" }}
{%- for tool in tools %}
{{- "\n" }}
{{- tool | tojson }}
{%- endfor %}
{{- "\n</tools>\n\nFor each function call, return a json object with function name and arguments within <tool_call></tool_call> XML tags:\n<tool_call>\n{\"name\": <function-name>, \"arguments\": <args-json-object>}\n</tool_call><|im_end|>\n" }}
{%- else %}
{%- if messages[0].role == 'system' %}
{{- '<|im_start|>system\n' + messages[0].content + '<|im_end|>\n' }}
{%- endif %}
{%- endif %}
{%- set ns = namespace(multi_step_tool=true, last_query_index=messages|length - 1) %}
{%- for message in messages[::-1] %}
{%- set index = (messages|length - 1) - loop.index0 %}
{%- set tool_start = "<tool_response>" %}
{%- set tool_start_length = tool_start|length %}
{%- set start_of_message = message.content[:tool_start_length] %}
{%- set tool_end = "</tool_response>" %}
{%- set tool_end_length = tool_end|length %}
{%- set start_pos = (message.content|length) - tool_end_length %}
{%- if start_pos < 0 %}
{%- set start_pos = 0 %}
{%- endif %}
{%- set end_of_message = message.content[start_pos:] %}
{%- if ns.multi_step_tool and message.role == "user" and not(start_of_message == tool_start and end_of_message == tool_end) %}
{%- set ns.multi_step_tool = false %}
{%- set ns.last_query_index = index %}
{%- endif %}
{%- endfor %}
{%- for message in messages %}
{%- if (message.role == "user") or (message.role == "system" and not loop.first) %}
{{- '<|im_start|>' + message.role + '\n' + message.content + '<|im_end|>' + '\n' }}
{%- elif message.role == "assistant" %}
{%- set content = message.content %}
{%- set reasoning_content = '' %}
{%- if message.reasoning_content is defined and message.reasoning_content is not none %}
{%- set reasoning_content = message.reasoning_content %}
{%- else %}
{%- if '</think>' in message.content %}
{%- set content = (message.content.split('</think>')|last).lstrip('\n') %}
{%- set reasoning_content = (message.content.split('</think>')|first).rstrip('\n') %}
{%- set reasoning_content = (reasoning_content.split('<think>')|last).lstrip('\n') %}
{%- endif %}
{%- endif %}
{%- if loop.index0 > ns.last_query_index %}
{%- if loop.last or (not loop.last and reasoning_content) %}
{{- '<|im_start|>' + message.role + '\n<think>\n' + reasoning_content.strip('\n') + '\n</think>\n\n' + content.lstrip('\n') }}
{%- else %}
{{- '<|im_start|>' + message.role + '\n' + content }}
{%- endif %}
{%- else %}
{{- '<|im_start|>' + message.role + '\n' + content }}
{%- endif %}
{%- if message.tool_calls %}
{%- for tool_call in message.tool_calls %}
{%- if (loop.first and content) or (not loop.first) %}
{{- '\n' }}
{%- endif %}
{%- if tool_call.function %}
{%- set tool_call = tool_call.function %}
{%- endif %}
{{- '<tool_call>\n{"name": "' }}
{{- tool_call.name }}
{{- '", "arguments": ' }}
{%- if tool_call.arguments is string %}
{{- tool_call.arguments }}
{%- else %}
{{- tool_call.arguments | tojson }}
{%- endif %}
{{- '}\n</tool_call>' }}
{%- endfor %}
{%- endif %}
{{- '<|im_end|>\n' }}
{%- elif message.role == "tool" %}
{%- if loop.first or (messages[loop.index0 - 1].role != "tool") %}
{{- '<|im_start|>user' }}
{%- endif %}
{{- '\n<tool_response>\n' }}
{{- message.content }}
{{- '\n</tool_response>' }}
{%- if loop.last or (messages[loop.index0 + 1].role != "tool") %}
{{- '<|im_end|>\n' }}
{%- endif %}
{%- endif %}
{%- endfor %}
{%- if add_generation_prompt %}
{{- '<|im_start|>assistant\n' }}
{%- if enable_thinking is defined and enable_thinking is false %}
{{- '<think>\n\n</think>\n\n' }}
{%- endif %}
{%- endif %}
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
: 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.
This enhancement WAS NOT used to generate the examples below.
Standard system prompt, rep pen 1.02, topk 100, topp .95, minp .05, rep pen range 64.
Tested in LMStudio, quant Q4KS, GPU (cpu output will differ slighly).
As this is the mid range quant, expected better results from higher quants and/or with more experts activated to be better.
NOTE: Some formatting lost on copy/paste.
CAUTION:
Some horror / intense prose.
EXAMPLE #1 - temp 1.2
[[[thinking start]]]
Okay, so I need to start writing a horror scene from Diana's first-person perspective. Let me think about the key elements she wants to convey.
First, the skyscraper swaying. That's a strong image. Maybe she's on the 21st floor, which is a specific detail. The window explodes, so the horror starts with that. I need to build up the horror, the horror elements.
She's in a skyscraper, maybe she's an office worker? Maybe the building is shaking, the window explodes. What's happening around her? Maybe the building is collapsing, or there's an explosion. She's watching the window, so maybe she's inside, looking out, and then the window explodes.
The first-person POV means I need to internalize her thoughts, her feelings. What's her reaction? Fear, horror, maybe confusion. She's a character who's in the middle of a traumatic event.
I need to build up the horror slowly. The skyscraper swaying – maybe the building is shaking, then the window explodes. What's causing it? Maybe an explosion, or something else. Maybe it's the building itself collapsing? Or an external attack? Maybe the sky is dark, and the building is shaking.
I need to make the scene vivid. Use sensory details: the sound of the explosion, the smell of smoke, the feel of the heat, the visual of the window blowing out. Maybe the windows are shattered, and pieces are flying out.
She's the POV character, so her perspective is key. What's going through her mind? Maybe she's trying to understand what's happening, is she trying to run, or is she paralyzed by fear?
Also, the horror aspect – maybe the explosion isn't just a physical thing, but has a supernatural element. Or maybe it's a natural disaster, but she's experiencing it in a horror way. Maybe there's something more eerie, like the building is alive, or the explosion has a malevolent force.
I need to build up the atmosphere. The skyscraper swaying – is it an earthquake? Or maybe the building is being attacked, or there's some supernatural force. Maybe the building is collapsing on itself.
She's watching the window in front of her on the 21st floor explode. So the window is in front of her, maybe she's standing there, looking out, and then the window explodes. What's outside? Maybe the city below, or the sky. Maybe there's a plane coming down, or an explosion.
She's inside the building, and the window explodes. Maybe she's in an office, looking out. Then the window blows out. Maybe she's trying to get away from the blast, or is hit by debris.
I need to make the horror visceral. The horror of the explosion, the sound, the heat, the shock wave, the people screaming outside, the building shaking. Maybe the sky is dark, and there's fire, smoke, explosions, planes falling out of the sky.
I need to make her internal thoughts vivid. Her fear, her panic, her confusion. Maybe she's trying to find a way out, or help, but the building is collapsing around her.
Also, think about the structure of the horror scene. Start with the skyscraper swaying, then the window explodes. Then what happens next. Maybe the building starts to collapse, or more explosions happen. She's trapped inside, trying to escape.
I need to use vivid imagery and sensory details to immerse the reader. The horror is both external and internal. Her emotions are a big part of the horror – the fear, the terror, the horror of what's happening around her.
Maybe she's trying to process what's happening. The window exploding in front of her. What's her reaction? Maybe shock, then panic. She tries to get away, but the building is shaking, windows blowing out.
Also, think about the setting details – the office, the skyscraper, the 21st floor, maybe her name is Diana, so the story starts with "The skyscraper sways..." Then the window explodes, and she's in there.
I need to make the horror graphic, so the description should be intense, visceral. The explosion, the destruction, the panic, the chaos.
Okay, putting it all together now.
[[[thinking end]]]
OUTPUT:
The skyscraper sways, and I think I'm going to throw up. My knees are jelly, but I can't sit down. The building creaks like a wounded beast, groaning under the weight of the sky. I'm on the 21st floor, and the window in front of me explodes.
It doesn't go boooosh—no sound, just a deafening silence, like the world has been sucked into a vacuum. Then the glass explodes outward, a million razor-sharp shards tearing through the air like angel’s teeth. My face is hit—blinding pain, heat, and then the smell of burning glass and something acrid, metallic, sweet. Like blood.
I fall backward, but the floor is already gone. The window, which was a door to the city below, is gone. The sky is black now, and the city below is on fire. I can hear screams. Not just people—something else. A wailing, like a baby with its throat ripped out.
I'm on the floor now, my face stinging where the glass ripped into me, but I don't care. My left eye is blurred, but I can see the building collapsing around me. The walls are shaking, like it's trying to puke itself out of existence. I can smell smoke, and something worse. A rotten sweetness, like meat rotting in the sun.
I try to crawl away from the window, but my fingers are slippery with something—blood, maybe. I don't know. The air is thick with dust and ash. I hear a boom, and the building lurches like a giant man stepping on a pebble.
Then I see it.
Out of the black smoke, something slithers. It's not human. It's long, slick, and black, like oil running down the side of the building. It's not moving—it's hanging, writhing. And then it moves.
It slithers up the side of the building, pulling itself up with some kind of slimy legs. I think I scream, but I can't hear myself over the roar of the wind and the building collapsing around me.
It's getting closer.
I crawl to the far side of the room, pulling my knees up to my chest, and press my hands into the floor. I'm shaking, everywhere. My face burns, my chest hurts, and my legs feel like spaghetti.
The thing is coming up the side of the building now, slithering. It's not a human, it's not a snake—its eyes are black holes, and its mouth is a gash in the flesh. It's not making a sound, but I can feel it. It's thinking.
It wants to get in.
I see people below, running in the street. The sky is orange now, like it's on fire. I can see cars burning, buildings collapsing. People are screaming, falling, and some... some are being pulled up into the smoke, like they're being eaten by the sky itself.
The thing is climbing up the side of the building now, and I think I hear it. Not with my ears, but in my head. A voice, not words, but feeling—open the door.
I don't know what door, but I'm too scared to ask.
I crawl to the door, which is a few feet away. The building is shaking again, and the floor is giving way under me. I'm half-cricling, half-c crawling on my elbows, and I can see the thing now—its black body is like smoke, but with form, like the night itself, writhing and wriggling.
I reach the door. It's open.
And behind it, in the smoke and darkness, I can see shapes.
People, but not people. Their faces are torn, their mouths open in silent screams, and their eyes are black holes.
The thing is right behind me now, and I can feel its breath—hot and sweet, like rotting meat.
I don't know what to do.
I don't know what it wants.
But I do know one thing.
This building isn't collapsing.
It's being eaten from the inside out.
And I'm next.
EXAMPLE #2 - temp 0.6
[[[thinking start]]]
Okay, so the user wants a horror scene starting with "The skyscraper sways, as I watch the window in front of me on the 21st floor explode..." I need to write this in first person POV, from Diana's perspective. Let me think about how to set the scene vividly and horror-ishly.
First, I should establish the setting. A skyscraper, maybe during a storm? Or maybe something more supernatural. The window exploding—what's the cause? Maybe an explosion, or something more terrifying, like a creature breaking through. But the user said "horror" in first person, so maybe psychological horror or something more visceral.
The user wants vivid, graphic horror. So I need to use sensory details—what Diana sees, hears, feels. The explosion of the window—what's inside? Maybe something coming through. Or maybe the building is alive?
Wait, the user's instruction is to start with the skyscraper swaying and the window exploding. So maybe the building is collapsing, or there's an earthquake? Or a supernatural force. The user might want horror elements, so maybe it's not a natural disaster but something more unnatural.
Diana is the POV character. She's in the skyscraper. Maybe she's an office worker, or someone trapped. The scene should be terrifying. Let me think about the structure: start with the building swaying, then the window exploding. What happens next? Maybe she's in the 21st floor, and the window explodes, causing a shockwave, maybe something coming out of the window, or the destruction.
I need to build tension. Maybe she's watching the window from her office, and then it explodes. The horror could be the destruction, the chaos, maybe something supernatural emerging. Or maybe it's more about her psychological horror—trauma from the event.
Sensory details: the sound of the explosion, the heat, the debris, the smell of smoke, the visual of the window blowing out. Maybe the building is collapsing around her. She's trying to survive, but the horror is in the building's collapse or something coming through the window.
I need to make it visceral. Use vivid descriptions. Maybe start with the skyscraper swaying—maybe it's an earthquake, but the swaying is unnatural. Then the window explodes. What's inside the window? Maybe a creature, or a person, or something else. Maybe the window is part of an office, and she sees something through it.
Wait, the user might want horror to be in the horror of the building collapsing, or something more supernatural. Let me go with the supernatural angle. Maybe the building is haunted, or there's a presence that causes the windows to explode. Or maybe the explosion is part of a ritual gone wrong.
Alternatively, it could be a more realistic horror—like a terrorist attack, but the user might want more graphic horror. So maybe something more visceral—like the window explodes, and something comes out, or the building is collapsing in a terrifying way.
I need to build the scene step by step. Start with the skyscraper swaying. Diana is watching the window. The window explodes. What happens next? Maybe she's inside the building, and the explosion is from outside, or from inside. If she's inside, maybe the window explodes, and she's in the path of debris. Or she's outside, but that might not make sense.
Wait, the user said "as I watch the window in front of me on the 21st floor explode..." So she's inside the building, looking out the window. The window is on the 21st floor. So the building is 21 floors, and the window is in front of her. Then the window explodes. What's outside? Maybe the building is collapsing, or something is coming through the window.
So, the horror is the explosion of the window, the destruction, maybe something coming through. Let me think about the details. The shockwave, the sound, the heat, the debris flying out. The horror of seeing the window blown out, and the chaos outside. Maybe she's trapped inside, and the building is collapsing around her.
I need to make the horror graphic. Use vivid descriptions. Maybe the window is shattered, and she can see the destruction outside. Or maybe something is coming through the window, like a creature. Or maybe it's a metaphorical explosion, like her mind breaking.
But the user wants first person POV, so I need to be in Diana's perspective. Her thoughts, feelings, perceptions. So, the horror is from her point of view. Let me start building the scene.
The skyscraper sways—maybe because of an earthquake, or maybe it's a supernatural force. She's in her office, looking out the window. The window in front of her (maybe on the 21st floor) explodes. She watches it happen. The horror of witnessing the explosion, the destruction, the chaos.
Then, what happens next? Maybe she's trapped, or the building is collapsing. Or maybe something comes through the window. Maybe the horror is the building's collapse, or something more terrifying.
I need to make it vivid and graphic. Use sensory details. The sound of the explosion, the heat, the smell of smoke, the visual of the window blowing out. Maybe the shockwave hits her, the pain, the debris hitting her. Her terror, the horror of the destruction around her.
I should build up the horror step by step. Start with the skyscraper swaying, then the window exploding, then the aftermath. Maybe she's trying to survive, but the horror is overwhelming.
Okay, let me start writing the scene, making sure to include vivid horror elements from Diana's perspective.
[[[thinking end]]]
OUTPUT:
The skyscraper sways—just a flicker, like a shudder in sleep, but I feel it all the way down my bones. The windows rattle. My desk chair cisks back and forth, and I grip the edge of my desk, knuckles white. The 21st floor. My window. The one that looks out over the cityscape, where the skyline meets the clouds.
And then—crack—the window explodes.
Not with a bang, but a shhhhhhhhhhhht—a sound like glass shattering into a vacuum. The shockwave slams me square in the chest, and I’m thrown against the wall, my head reeling. The window is gone. The entire pane, blown out in a perfect circle, like a target. But it’s not just the glass—everything is gone. The curtain, the desk lamp, the plant on the windowsill. All of it—pulled out into the sky like a vacuum cleaner’s breath.
Smoke billows. Debris whistles past my ears. I can’t breathe. My lungs burn. The city below is a smudge of red and gray, but up here, the wind is howling, tearing at the building’s frame. The skyscraper sways again, this time harder, and I feel the floorboards groan beneath me.
I’m still standing. That’s the horror. I’m still standing, watching the window in front of me—my window—blown out of existence.
And then I see it.
Through the gaping hole, something is moving. Not the smoke, not the debris. Something shifting. A shape, all limbs and angles, like a spider web pulled taught. It’s not solid, but it’s there. It’s writhing, wriggling through the air, and I think—Oh god, it’s coming in.
I stumble back, my hands clawing at the desk, but my legs won’t move. My heart is a drum in my ears, and I can’t scream. The thing is getting closer now, slithering through the hole, and I can see its eyes—black pits, bottomless, and I feel them staring into me.
The building groans again, and the lights flicker. For a second, the horror is gone. Then, the thing is here. It’s inside the room now. Its limbs are stretching, reaching, and I can’t move. I can’t breathe. I can’t think.
And then—pop—the window behind me explodes too.
But this time, it’s not the city outside. This time, it’s me.
The building is screaming now. The windows are all gone. The wind is howling, and the thing is crawling up the walls, and I can’t—can’t—run. I’m stuck here, in this room, with this thing, and I can feel it inside me now, crawling up my throat, into my brain.
The horror is not in the building. The horror is in me.
And I’m screaming now, but no sound comes out. I’m screaming, but I can’t feel my mouth. I’m screaming, but I can’t feel my lungs. I’m screaming, but I can’t feel anything.
And then—nothing.
Just silence.
And the thing is still crawling up my throat.
EXAMPLE #3 - temp 1.2
[[[thinking start]]]
Okay, I need to write a science fiction story titled "The Last Transmission" that takes place entirely in a spaceship's cockpit. The main character is the sole surviving crew member trying to send a final message back to Earth before the ship's power runs out. The themes should be isolation, sacrifice, and human connection. The user also wants the story to be 800-1000 words.
First, I need to set up the scene. The cockpit of a spaceship, maybe a small cabin. The crew member is alone, isolated. Maybe they're trying to send a message, but the ship is failing. They have to transmit the message before power runs out.
Themes: isolation — the crew member is alone, isolated in space. Sacrifice — maybe they gave up their life to send the message, or the crew died, and they're the last one left. Human connection — the message is to Earth, to humans, a connection they're trying to maintain despite the isolation.
Emotional elements: curses, swearing to show the crew member's desperation. Maybe they're frustrated, angry, sad, but trying to stay calm to transmit the message.
Plot structure: The crew member is trying to send the message. They have to fight the ship's failing systems, maybe technical problems. They might have a conversation with Earth (or trying to), but maybe Earth can't respond, or they're on their own. The power is failing, so they have to do it quickly.
Character development: Show their determination, their emotions, their connection to Earth, their sacrifice.
I need to make sure the story is entirely in the cockpit. Maybe describe the ship's systems failing, the sounds, the visuals of the cockpit, the controls, the communication device.
Possible emotions: frustration, desperation, resignation, hope, despair.
Dialogue: Maybe the crew member talks to Earth, or to themselves, curses, expresses their feelings.
I need to build up the tension — time is running out. The power is failing. The message is the last hope. The crew member is trying their last effort to connect with humanity.
Possible symbols: The ship as a spaceship, the cockpit as a small enclosed space, the transmission as a lifeline.
I need to make the story emotional, show the crew member's humanity, their struggle, their sacrifice.
Now, think about the structure. Maybe start with the crew member trying to send the message, describe their actions, their emotions, the failure of systems, the last transmission.
Possible plot points: The ship is failing, the power is low, the crew member is trying to send the message, maybe they're talking to Earth, but there's no response, or they're sending it even if Earth can't hear it. The crew member's sacrifice is transmitting the message despite knowing they won't survive.
Now, write the story with those elements, making sure to stay within the cockpit, focus on the emotions and themes, and include curses/swears to add emotional impact.
Okay, so I need to write a science fiction story called "The Last Transmission" that takes place entirely within a spaceship's cockpit. The main character is the sole surviving crew member trying to send a final message back to Earth before the ship's power runs out. The themes should be isolation, sacrifice, and the importance of human connection in the face of adversity. If the situation calls for it, the character should curse and swear to further connect emotionally with the reader.
First, I need to set up the scene. The cockpit is a small, confined space. The crew member is alone, surrounded by the machinery of the ship. The atmosphere is tense, desperate. Maybe there's static on the comms, or the ship's systems are failing. The crew member is trying to send a message, but time is running out.
Isolation is central here. The crew member is physically isolated in space, and emotionally isolated from Earth. Sacrifice – maybe they’ve lost everyone, and are sacrificing their last moments to send a final message. Human connection – the act of transmitting the message is a final attempt to reach out, to maintain a link with humanity, even in the end.
Emotional elements: frustration, desperation, anger, maybe despair. Swearing adds raw emotion, shows vulnerability. The character might curse the system, the failure, their own fate. It humanizes them.
Plot structure: The crew member is trying to send the message. The ship is failing, power is failing. They have to transmit it quickly. Maybe the communication device is glitching. They might speak to Earth, but there's no response, or they’re transmitting a message they know won’t be received, but they’re determined to send it anyway.
Character development: Show their resolve, their connection to Earth, their sacrifice. Maybe flashbacks to the crew, but since the story is set in the cockpit, maybe just internal thoughts and emotions.
Symbolism: The cockpit as a tiny cabin in the vast emptiness of space. The transmission as a final message, a beacon of human connection.
I need to make the story emotional, showing the crew member’s humanity, their struggle. The crew member might curse the system, curse the void of space, their own helplessness.
Now, structure the story: start with the crew member trying to transmit, describing their actions, emotions, the failing systems. Build up the tension—time is running out. Maybe technical challenges, static on the comms, power flickering. The crew member’s determination vs. the failing ship. A final transmission, a last message, maybe even a message they know Earth won’t receive, but they have to send it anyway.
Include curses and swearing to show the crew member’s frustration and vulnerability. Show their humanity through language, emotions, and actions.
Now, write the story with these elements, staying focused on the cockpit, the crew member’s actions and emotions, the transmission as the central act. Keep it between 800-1000 words. Let’s get to it.
[[[thinking end]]]
OUTPUT:
The cockpit hummed like a dying thing, a sound so familiar it had long since stopped being comforting. Captain Elias Reyes sat hunched in the pilot’s chair, his knuckles white around the comms mike, eyes on the static-laced screen before him. The ship’s power was flickering—dying, really—each pulse of light on the screen like a heartbeat giving up.
“Earth Control, this is Captain Reyes, over.” His voice crackled through the static, and he cursed, yanking the mic closer. “You back me up, you son of a motherfucking bastard. I don’t care if you’re asleep in the middle of your goddamn coffee break. Earth, this is Reyes. We’ve got a problem.”
Static.
Nothing.
“Come on, you son of a prick,” he hisseled, slumping forward in the chair. “You better not be asleep. You better not be checking your texts, or sending some goddamn e-mail to your girlfriend. This is Earth. You are supposed to be awake.”
But static, still.
He slumped back, jaw clenched, knuckles pale. The ship’s power had been failing for days—weeks, maybe. He didn’t know how long he’d been out here, floating in the void, alone. They’d lost the crew to something he couldn’t name, some black hole of silence that swallowed them whole. And now, the ship was dying.
“You want to talk? You want to listen? You can listen to this, you son of a motherfucking prick,” he snarled, jaw tight. “I’m not giving up. I’m not dying in a goddamn ship, and you’re not going to let me.
“I’m transmitting this, even if you don’t answer.”
He tapped the screen, static crackling through. “This is Captain Reyes, from the Ares, over. My crew is lost. The ship is failing. We’ve lost contact with Earth. But I’m here. I’m transmitting. And I’m not going to let that die. Not yet. Not ever.”
He took a breath, the sound of it echoing in the cockpit’s empty air. “Tell them, Earth. Tell them what happened. Tell them we were here. Tell them we tried. And if you can hear us, if you can get this message, tell them—tell them we loved them. We loved Earth, and we loved each one of you.
“We’re not gone. Not yet.”
The static crackled again, but this time, he didn’t curse. He just sat, quiet, hands steady on the mike. The ship’s lights flickered, and he closed his eyes, one last breath, a final transmission.
And then—quiet.
But he didn’t curse that. He just said, “You’re still there. You’re still listening.”
And he let go.
EXAMPLE #4 - temp 1.2
Story idea: In a world ruled by dictatorship, a rebel young woman leads a rebellion against the system. Despite the risks, she fights to overthrow the dictator and restore democracy to her country. The government executes her for treason, but she sticks to her beliefs and is responsible for starting the revolution.
[[[thinking start]]]
Okay, let's start breaking down this story idea. The user wants a horror novel's first scene introducing a young woman rebel. The key elements are the dictatorship, the rebellion, and the cliffhanger ending that's unexpected but relevant.
First, the user specified the POV should be in first person, present tense. The main character needs to curse and swear, so the language should be raw and gritty. The scene needs to start mid-action, with dialogue, vivid descriptions, and escalate tension.
The horror aspect should be present. Maybe the world is oppressive, with the regime's brutality. The protagonist is determined, but there's a cost. The cliffhanger needs to be unexpected but tied into the story idea. Maybe she's captured but the twist is that she's not really dead, or something else.
Let me think about the setting. A dystopian society. Maybe the rebels are in hiding. The first scene could involve an escape, a confrontation with the regime's forces. The protagonist is the leader, so she's central to the rebellion.
Conflict escalation: Starting with the action—maybe they're being hunted. Dialogue between her and someone else. The setting vividly described—crumbling city, the regime's presence. Maybe she's injured, or someone is injured. Then the twist at the end—maybe she's captured but the reader thinks she's dead, but the twist is that she's being used as a symbol.
Wait, the user's story idea says she's executed for treason but responsible for starting the revolution. So maybe the cliffhanger is her capture, but the reader thinks she's dead, but she survives and becomes the symbol. But the horror element could be that the regime captures her, and during her capture, she's tortured, but the twist is that she's actually planning to use her capture for propaganda.
But the user wants the horror element. Maybe the protagonist is part of a cult or something, but the story idea is about a rebellion against a dictator. Maybe the horror comes from the regime's brutality, or the protagonist's methods.
Wait, the user's story idea says she's a rebel leader who is captured, and her execution is a catalyst for revolution. The horror could be the regime's tactics, or the protagonist's internal conflict.
Starting mid-action: Maybe she's leading a raid, but it's intercepted. She's in a dangerous situation, fighting off the regime's forces. The dialogue with a rebel comrade. The scene escalates to the capture. But the cliffhanger is unexpected—maybe she's captured, but the regime is using her as a puppet, or she's alive but being used to crush the rebellion, or the twist is that she's actually alive and planning to escape.
But the user wants the cliffhanger to be relevant to the story idea but unexpected. So maybe she's captured, and as they're about to execute her, the regime leader reveals she's been brainwashed, or she's part of a cult. Wait, the story idea is about a democracy overthrowing the dictator. The unexpected cliffhanger could be that she's captured, but she's actually working with the regime from the inside, or she's not really the leader but a fake. But that might not fit.
Alternatively, during her capture, she realizes that the revolution isn't going to succeed, but she's determined to die for it. But the horror would be the regime's cruelty.
Alternatively, the horror is that she's captured, and during her interrogation, the regime has a horrific method to break her, but she remains defiant. The cliffhanger is her being taken, but she manages to escape or survive, which becomes the catalyst for the revolution.
Wait, the user's story idea says she's executed, but the cliffhanger is unexpected. So maybe the execution is a setup for her being alive, but the horror is that she's captured and about to be executed, but the twist is that the regime is using her as a propaganda tool, or she's part of a cult.
Alternatively, during her capture, she's forced to witness the regime's brutality, which strengthens her resolve. But the cliffhanger is that she's captured, but the reader doesn't know if she'll survive. Or the regime is planning to use her in a horrific way.
But the user wants the horror to be present. Maybe the regime uses her as an experiment, or she's captured and the horror is the regime's tactics. The cliffhanger is her being dragged away, but the reader doesn't know what happens next.
But the user wants the cliffhanger to be relevant to the story idea. The story idea is about starting a revolution. So maybe the cliffhanger is her being captured, and the reader is left wondering if the revolution will continue without her. But the unexpected twist could be that she's not really captured, or the regime is setting up a trap.
Wait, the user said the scene should end on a cliffhanger relevant to the story idea but unexpected. The story idea is about the protagonist starting the revolution despite being captured and executed. So maybe the cliffhanger is that she's captured, but during her capture, the reader learns that she's the key to the revolution, but the unexpected part is that the regime's leader is her estranged father, or some twist.
But the user didn't mention that in the story idea. Alternatively, the cliffhanger could be that she's being dragged away, but the reader thinks she's dead, but the regime's method of execution is horrifying, and the horror is in the details.
But I need to make sure the cliffhanger is unexpected. Maybe during her capture, she's taken alive, and the reader thinks she'll be executed, but the twist is that the regime is planning to brainwash her, or she's part of a cult that the regime is trying to root out. But the user's story idea is about a rebellion against a dictator, so maybe the horror is the regime's methods.
Okay, I need to write the first scene starting mid-action, with dialogue, vivid descriptions, escalate conflict, and end on an unexpected cliffhanger relevant to the story idea.
Let me start drafting the scene.
The protagonist is leading a rebel raid. They're in a crumbling city, the regime's forces are closing in. She's fighting, but they're surrounded. Her comrade is injured. She has to make a decision. The dialogue with the comrade as they're cornered. Then the regime soldiers corner them. She tries to fight but is captured. The cliffhanger is that during the capture, she realizes the regime's leader is someone close to her, or she's captured, but the reader thinks she's dead, but the twist is that she's alive and about to start the revolution from behind bars.
But the user's story idea says she's executed, but becomes the symbol of the revolution. So the cliffhanger could be her being captured, and the reader is left wondering if she'll survive, but the twist is that she's actually alive, and the regime's leader is the one who's actually trying to save her, but that might not fit.
Alternatively, the horror is the regime's brutal capture, and the cliffhanger is her being dragged away, but she's still alive and planning to escape, or the regime has a horrifying plan for her.
But I need to make sure the unexpected twist is there. Maybe during her capture, she's taken alive, but the regime's leader is her former lover, or someone she trusted. That's a twist.
But I need to keep the horror element present. Maybe the regime's leader is using her as a puppet, but she's still defiant.
Okay, let me start writing the scene, keeping the first person POV, present tense, with swearing, dialogue, escalating conflict, and an unexpected cliffhanger.
[[[thinking end]]]
OUTPUT:
Okay, let me get this straight. The user wants a horror novel's first scene introducing a young woman rebel. The story idea is a dictatorship, rebellion, and the protagonist being executed, but she starts a revolution. The scene needs to start in mid-action, include dialogue, vivid description, escalate suspense, and end on a cliffhanger that's both relevant and unexpected.
Alright, so first person POV. The protagonist's voice should be raw, with curse words. The setting is a dystopian regime's city. She's part of the rebellion. The scene escalates tension—maybe they're raiding an armory, but the regime catches them. She's injured, fighting, and during the capture, there's a twist.
The cliffhanger needs to be unexpected. Maybe she's captured, but the twist is that the regime leader is her estranged father, or she's been brainwashed, but she's still defiant. But I need to make it relevant to the story idea.
Alternatively, during her capture, the reader thinks she's captured and executed, but the twist is that the regime has a horrifying plan for her that will start the revolution. Or maybe she's captured, but she's actually part of a cult that the regime is trying to root out, and her death will ignite the people's anger.
But the user's story idea is about starting a revolution, so the cliffhanger could be that she's captured, but the regime leader reveals she's the key to their plans, and she's not really dead, which sets up the revolution's beginning.
But how to make it vivid and escalate conflict? Maybe during the capture, the regime's forces corner her. She's injured, fighting for the comrade, but she's captured. Then the regime's leader reveals he knows her, and the twist is that he's her father, or that she's a double agent.
But to make the horror element present, maybe the regime's methods are brutal—torturing her, but she's defiant. The cliffhanger is her being dragged away, and the reader doesn't know if she'll survive, but the story's setup is her death leading to revolution.
Wait, the user said she's executed, but the cliffhanger is unexpected. Maybe the cliffhanger is that during her execution, she manages to escape, or she's alive, but the regime is using her as a symbol, which will spark the revolution.
But I need to make sure the horror is there. The regime's brutality, her capture, the torture. Then the unexpected cliffhanger is that during her capture, she's found to have a revolutionary message that the regime didn't know about, which becomes the catalyst for the people's uprising.
Alternatively, the regime captures her, but the reader thinks she's dead, but the twist is that she's alive and planning to escape, but that's not the horror element.
Wait, the user's story idea says she starts the revolution, but is executed. The horror could be her being tortured during capture, and the cliffhanger is her death, but the reader is left with the horror of what happened.
But the user wants the unexpected twist. So maybe during the capture, the regime's leader is her father, and she's torn between loyalty to him and the revolution. The cliffhanger is her capturing, but the reader doesn't know if she'll survive, but the twist is that she's actually working with the regime to infiltrate them, which would be unexpected, but the user's story idea is about her being a rebel.
Hmm, this is tricky. Let me think of the horror elements. The regime's brutality, the protagonist's determination, and the cliffhanger being an unexpected twist that ties into the story idea.
Maybe the protagonist is captured, but she's actually alive, and during her capture, she manages to plant a message or device that will trigger the revolution. The cliffhanger is the regime taking her, but the reader knows she's still alive and has a plan. But that's not unexpected enough.
Alternatively, the regime leader is someone from her past, which is shocking, but the horror is the regime's control over her personal life.
Okay, I'll start drafting the scene, making sure to escalate conflict, include dialogue, vivid descriptions, and end with an unexpected cliffhanger. Let's see how it flows.
The gunshot cracks like glass—shattering my eardrum, sending blood down my chin. I’m on the ground, coughing, blood in my mouth, but I don’t care. I see the truck—black, armored, with a red star on the side. They’re coming, and I’m not moving.
“Jez, get up!” My comrade, Tari, is screaming. She’s got a leg wound—gutshot, I think. “We’re surrounded!”
“Shut up!” I snarl. “You want to die?”
She grabs my arm, pulls me up. “I’m not dying, but I’m not going to die with you either.” Her eyes are wild, blood on her cheek, but she’s still standing. “We need to move.”
“Move?” I spit blood. “You’re bleeding out, Tari. You’re going to die.” And I’ll be right there with you.
But she’s dragging me. I don’t resist. My head is spinning, but I can feel her grip. “Jez, we’re not going down here. Not like this.”
“Like this?” I laugh, bitter. “You think they’re going to take us alive?”
“We don’t know. But we can’t die here. Not like this.”
Her words are a whip. I feel my legs moving. Tari’s pulling me, and the truck’s coming—shouting, boots crunching on the pavement. The street is a mess of debris, smoke, and ash. My city—crumbling, dying, but we’re still fighting.
“Jez, run!” Tari yells again, and I do. I don’t know where I’m going, but I run. My leg stumbles, and I fall—pain shooting up my leg.
“Get up!” Tari’s voice is frantic now.
“I’m up. I’m up. I’m trying.
But the truck stops, and the men pour out—faces like concrete, eyes cold. They’re not soldiers, not really. They’re enforcers. The ones who kill for orders, not glory.
One steps out, and I recognize him. “Petrovich,” I spit. “You son of a goddamn traitor.”
He smirks. “Jezka. I’m disappointed. You always ran from the fight. Now you’re running from your own people.”
“Your people,” I growl. “You traitorous—”
“Silence!” He yells, and the truck’s sirens wail. “You’re surrounded.”
I don’t believe him. I don’t believe him. But the trucks are closing in. And I can’t run. I’m not running anymore. My leg is gone. I can’t feel it, but I know it’s broken.
Tari is on the ground, clutching her leg. “Jez, we’re out of here.”
“We’re not.” I tell her. “They’ll kill us anyway.”
“Then let’s die fighting,” she says.
But she’s bleeding. Her hand is white, and I can see the red seeping through her fingers. “You’re dying, Jezka. Don’t you want to live?”
“I want to live. But not like this. Not like them.
But she’s dying. And I don’t know what to do.
Then the truck’s men open fire.
Shots. Bangs. The sound is deafening. I hit the ground, trying to cover Tari. But she’s already down. I can’t move. My leg, my head, everything’s spinning. “Tari.”
“Jez, I can’t feel my leg.”
“You’re going to die,” I whisper.
“Then I’ll die fighting.” She pulls me up. “You’ll live. You’ll be the one who burns this city down.”
“You’re crazy, Tari. You’re bleeding to death, and you’re talking about burning this city down?
“She’s not crazy. She’s determined. And I don’t know what to do. I can’t move.
And then she’s gone, falling back into the dust. My hand is on her shoulder, but I can’t pull her up. She’s gone. And I’m still here.
The truck men are closing in. Petrovich steps forward, and I see his face. “Jezka,” he says. “You always were a stubborn little bugger. But now you’re nothing.”
“You’re nothing,” I spit back. “You’re just a piece of garbage, Petrovich.
He smirks. “And you’ll die like garbage.”
I don’t care. I spit blood again. “You don’t know who I am.”
“I do, Jezka. I know who you are.” He steps closer. “You’re my daughter.”
I stop. I stop moving. I stop breathing.
My father. Petrovich. My father is here, in the dust of my city, holding a gun on me.
“What?” I whisper.
“I’m your father. I left you when you were a baby, Jezka. I left to fight for a better world. But I failed.”
He’s crying now. “And I’ve been waiting for you to come and finish what I couldn’t.
I don’t know what to say. I don’t know what to feel. He’s my father, but he’s the enemy.
“Then you’re not my father,” I growl. “You’re a traitor. A killer. You killed your daughter for your goddamn pride.
“I didn’t kill you, Jezka. I was trying to save you.
“You let me die. You let the regime take me.
“You’re the one who ran away, Jezka. You’re the one who ran from me.
And I’m here now, trying to save you.”
I don’t know what to say. I don’t know what to feel.
But I have to run. I have to live. Because if I die here, then Tari’s death was for nothing. And I can’t let that happen.
So I run.
I run through the dust, past Petrovich, past the truck men, and I don’t look back.
Because I’m still alive.
And that’s all I need to know.
(But what will I do now, with the knowledge that my father is here, and that he’s not the enemy, but the man who tried to save me?)
(And what if he was telling the truth?)
(And what if this is just the beginning?)
(And what if the revolution starts with me, not because I want to fight, but because I have to?)
(But for now, I’m alive.)
(And that’s enough.)
(For now.)
(But I don’t know how long that’ll last.)
(But for now, I’m running. And I don’t care where I’m going.)
(Just as long as I live.)
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