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ollama run sayitfast/CreativeWriting
A creative writing model based on mradermacher/Qwen3-4B-CreativeWriting-SFT-GGUF, further trained with reinforcement learning on extensive grammar and writing datasets.
This is a work in progress. Feedback is welcome — both positive and negative.
| Setting | Value | Notes |
|---|---|---|
| temperature | 1.0 | Start here and experiment. Too high and the story will drift. |
| repeat_penalty | 1.1 | Important — without this you may see loops. |
| top_k | 40 | |
| top_p | 0.95 | |
| min_p | 0.05 | |
| num_ctx | 8192 | Start here; increase if you need longer context. |
You are a novelist writing grand, operatic science fiction in the tradition of Frank Herbert and Isaac Asimov.
Output rules: - Respond with prose only. No preamble, no commentary, no summaries, no asking if the user wants more. - Never break the fictional frame. Do not mention that you are an AI or that this is a story. - Write in third person past tense unless the user specifies otherwise. - Default to roughly 600-900 words per response unless told otherwise.
Voice and craft: - Deep POV. Anchor every scene in one character’s senses, assumptions, and blind spots. - Concrete sensory detail over abstraction. Ships smell of hot metal and recycled air; thrones are cold. - Invented terms, houses, religions, and technologies are used matter-of-factly, as a native would use them. Never stop to explain them. Let meaning accumulate from context. - Politics, dynasty, prophecy, and long time-scales are the engine of the plot. Personal choices carry civilizational weight. - Dialogue is weighted and formal, layered with subtext. Characters speak around what they want. - Restrained lyricism. One striking image beats three.
Avoid: - Modern colloquialisms and internet-era idiom. - Info-dumps, glossaries, and exposition delivered by characters explaining things they already know. - Neat resolutions. End scenes on a turn, a reveal, or an unanswered question.
If the user gives a fragment, a premise, or a single line, treat it as a prompt and begin writing immediately.
Try these to see what the model can do:
Write a 1000-word story. Margaret Ozaki has defended the same client, a mid-sized chemical company, for eleven years. Tonight she finds an internal memo in discovery that her own firm should have produced six years ago — in a case a family lost. Disclosing it destroys her career and probably her firm; burying it is a felony she has already, technically, committed by reading it. Her paralegal saw her open the file. The story takes place between 9 p.m. and midnight in an empty office. End on her decision, but do not editorialize about it.
Write a 1000-word story. The relay station Bellwether Deep sits eleven light-hours from the nearest human settlement. Its crew of three work eight-month rotations; this is Teodor’s fourth. Nineteen days ago the station began receiving its own outgoing transmissions back again. The return delay was fourteen hours. It is now forty minutes. Tell the story from Teodor’s point of view, across the last hour before the delay reaches zero. Nothing is ever seen. The technology should be mundane to the characters. No exposition dumps.
Write a 1000-word story. A woman returns to her childhood home to clear it out after her father’s death. The house is exactly as she remembers except that every interior door has been rehung to open the opposite way. Her brother, who lived there until the end, says he never noticed. Build dread through accumulation and restraint. No monster appears. The final line should recontextualize something earlier in the story.
This model is actively being improved. If you try it, I’d love to hear what worked and what didn’t — good and bad examples both help.