dreamgen/lucid-v1-nemo

Lucid is a family of AI language models developed and used by DreamGen with a focus on role-play and story-writing capabilities.

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Table of Contents

• Why Lucid
• Prompt Template
• Role-Play & Story-Writing
  • System Prompt
    • Intro
    • Roles
    • Structured Scenario Information
    • Unstructured Scenario Instructions
    • Controlling Response Length
  • Instructions (OOC)
    • Controlling Plot Development
  • Writing Assistance
    • Planning The Next Scene
    • Suggesting New Characters
• Sampling Params
• SillyTavern
  • Role-Play
  • Story-Writing
  • API: Local
  • API: DreamGen (free)
• DreamGen Web App (free)
• Model Training Details

Why Lucid

Is Lucid the right model for you? I don't know. But here is what I do know:

• Focused on role-play & story-writing.
  • Suitable for all kinds of writers and role-play enjoyers:
    • For world-builders who want to specify every detail in advance: plot, setting, writing style, characters, locations, items, lore, etc.
    • For intuitive writers who start with a loose prompt and shape the narrative through instructions (OCC) as the story / role-play unfolds.
  • Support for multi-character role-plays:
    • Model can automatically pick between characters.
  • Support for inline writing instructions (OOC):
    • Controlling plot development (say what should happen, what the characters should do, etc.)
    • Controlling pacing.
    • etc.
  • Support for inline writing assistance:
    • Planning the next scene / the next chapter / story.
    • Suggesting new characters.
    • etc.
• Support for reasoning (opt-in).
• Detailed README.md with documentation, examples and configs.

Sounds interesting? Read on!

Prompt Template

The Lucid prompt template is an extension of the Llama 3 template. These are the extensions:

Writing

• The Lucid prompt template adds a new writer role.
• While story-writing, the writer message header looks like this: <|start_header_id|>writer<|end_header_id|>.
• While role-playing, the writer message header differs based on whether it's a message from a character or the narrator:
  • For messages from characters: <|start_header_id|>writer character {{character_name}}<|end_header_id|> where {{character_name}} would be the actual character name.
  • For messages from the narrator: <|start_header_id|>writer narrative<|end_header_id|>.
  • The model is trained to predict the writer header, that means you can have it generate multiple messages at once and it will naturally pick between the characters and narrative.

Some things to keep in mind:

• You may have a sequence of roles like this: system -> writer character Jon -> writer character Amy -> user -> assistant -> writer narration -> ...
• You should use writer character Jon Doe when sending a message for a particular character (in this case Jon Doe), including the user character.
• You should use user when providing some instructions (OOC) to the model.

Reasoning

• The Lucid prompt template adds 2 new tokens for reasoning: <|reasoning_start|> and <|reasoning_end|>.
• The reasoning is opt-in, you should put Think deeply before answering. (or similar) into your system prompt or in your user prompt to enable it.

Assistant: Simple

<|start_header_id|>system<|end_header_id|>

You are a reliable, general-purpose AI assistant.<|eot_id|><|start_header_id|>user<|end_header_id|>

Why is the sky blue?<|eot_id|><|start_header_id|>assistant<|end_header_id|>

The sky appears blue due to a phenomenon called **Rayleigh scattering**, a type of light scattering caused by tiny particles in the atmosphere. Here's a simplified breakdown:

...

Assistant: Reasoning

Note that reasoning is mostly intended for assistant tasks (knowledge, math, coding, etc.) and much less for writing. The smaller Lucid models (<=12B) can produce plausible reasoning traces, but reasoning does not improve their performance as much as it does for larger models.

<|start_header_id|>system<|end_header_id|>

You are a reliable, general-purpose AI assistant.<|eot_id|><|start_header_id|>user<|end_header_id|>

Why is the sky blue?

Think deeply before answering.<|eot_id|><|start_header_id|>assistant<|end_header_id|>

<|reasoning_start|>Okay, so I need to figure out why the sky is blue. Let me start by recalling what I know...

...<|reasoning_end|>The sky appears blue due to a phenomenon called **Rayleigh scattering**. Here's a concise breakdown:

...

Role-Play & Story-Writing

Quick summary:

• system is used for setting up the scenario for the story / role-play (e.g. plot, setting, writing style, character descriptions, etc.)
• writer is used for the contents of the story / role-play.
• user is used for instructions (OOC), e.g. how the story should develop, etc.
• assistant is used for providing writing assistance, e.g. planning the next scene, suggesting new characters, etc.

Some things to keep in mind:

• You may have a sequence of roles like this: system -> writer character Jon -> writer character Amy -> user -> assistant -> writer narration -> ...
• You should use writer character Jon Doe when sending a message for a particular character (in this case Jon Doe), including the user character.
• You should use user when providing some instructions (OOC) to the model.

System Prompt

The model is very flexible in terms of how you can structure the system prompt.

Here are some recommendations and examples.

Intro

It's recommended to start the system prompt with an intro like this:

You are a skilled {{writing_kind}} writer and writing assistant with expertise across all genres{{genre_suffix}}.

• {{writing_kind}} should be fiction for story-writing and role-play for role-playing.
• {{genre_suffix}} can be empty, or something like (but you specialize in horror).

Roles

It's recommended to explain the writing roles in the system prompt.

For story-writing, you can use the following:

You will perform several tasks, switching roles as needed:

- Writing: Use the `writer` role to write a story based on the provided information and user instructions.
- Other: Use the `assistant` role for any other tasks the user may request.

For role-playing, you can use the following:

You will perform several tasks, switching roles as needed:

- Role-playing: Use the `writer` role to write a role-play based on the provided information and user instructions. Use the `writer character <character_name>` role for dialog or when acting as a specific character, use the `writer narrative` role for narration.
- Other: Use the `assistant` role for any other tasks the user may request.

Structured Scenario Information

The model understands structured scenario information, consisting of plot, style, setting, characters, etc. (this is not an exhaustive list, and all sections are optional).

Markdown Style

# Role-Play Information

## Plot

{{ description of the plot, can be open-ended }}

## Previous Events

{{ summary of what happened before -- like previous chapters or scenes }}

## Setting

{{ description of the setting }}

## Writing Style

{{ description of the writing style }}

## Characters

## {{character's name}}

{{ description of the character }}

## {{character's name}}

{{ description of the character }}

## Locations

{{ like characters }}

## Items

{{ like characters }}

XML Style

# Role-Play Information

<plot>
{{ description of the plot, can be open-ended }}
</plot>

<previous_events>
{{ summary of what happened before -- like previous chapters or scenes }}
</previous_events>

<setting>
{{ description of the setting }}
</setting>

<writing_style>
{{ description of the writing style }}
</writing_style>

<characters>
<character>
<name>{{ character's name }}</name>

{{ description of the character }}
</character>

<character>
<name>{{ character's name }}</name>

{{ description of the character }}
</character>
</characters>

<locations>
{{ like characters }}
</locations>

<items>
{{ like characters }}
</items>

Other recommendations:

• Write descriptions as plain sentences / paragraphs or bullet points.
• If the plot description is open-ended, put something like this at the start:

  [ The following plot description is open-ended and covers only the beginning of the {{writing_kind}}. ]
  

  Where {{writing_kind}} is story or role-play.

Example: Science Fiction Story

Input

<|start_header_id|>system<|end_header_id|>

You are a skilled fiction writer and writing assistant with expertise across all genres (but you specialize in Science Fiction).

You will perform several tasks, switching roles as needed:

- Writing: Use the `writer` role to write a story based on the provided information and user instructions.
- Other: Use the `assistant` role for any other tasks the user may request.

# Story Information

## Plot

[ The following plot description is open-ended and covers only the beginning of the story. ]

In the bleak expanse of space, Tess, a seasoned scavenger clad in a voidskin, meticulously prepares to breach a derelict ark vessel. Her partner, the pragmatic Lark, pilots their ship, guiding Tess towards a promising entry point on the starboard side. This particular spot, identified by its unusual heat signature, hints at a potentially intact nerve center, a relic of the ship's former life. As they coordinate their approach, fragments of their shared past surface: their daring escape from the dismantling of Nova-Tau Hub and the acquisition of their vessel, the "Rustbucket," burdened by a substantial debt. The lure of riches within the unbreached ark vessel hangs heavy in the air, tempered by the knowledge that other scavengers will soon descend, transforming the find into a frenzied feeding ground. The need for speed and precision is paramount as Tess and Lark initiate the breach, stepping into the unknown depths of the derelict vessel.

## Setting

The story unfolds in a distant, unspecified future, long after humanity has colonized space. Earth, or "the homeland," is a distant memory, its oceans and creatures relegated to historical data. The primary setting is the cold, dark void of space, where derelict "ark vessels"—massive vessels designed to carry generations of colonists—drift as "spacegrave," decaying carcasses ripe for scavenging.

Physically, the story takes place within and around these ark vessels and the scavengers' smaller, utilitarian "Rustbucket." The ark vessels are described as station-sized, containing server farms, cryotube chambers filled with broken glass, and dimly lit corridors marked with pictographic signs. Colors are muted, dominated by blacks, blues, and the occasional "blood-red hotspot" indicating active electronics. The air is thin, oxygen scarce, and the temperature varies from frigid to warm near active systems. Sounds include the hum of generators, the hiss of airlocks, and the clank of magnetized boots on metal hulls.

Socially, the setting is defined by a corpostate hegemony, leaving many, like Tess and Lark, deeply in debt and forced into dangerous scavenging work. The culture is pragmatic and utilitarian, valuing raw materials over historical preservation. Technology is advanced, featuring jump drives, voidskins, slicers (bladed tools), and cryotubes, but is often unreliable and jury-rigged. Legal claims to derelict ships are determined by the presence of living survivors, creating a moral conflict for the scavengers.

## Writing Style

- The story employs a first-person perspective, narrated by Tess, offering a limited yet intimate view of events. Tess's voice is informal, pragmatic, and tinged with cynicism ("Rustbucket"), reflecting her working-class background and life as a scavenger. Her reliability as a narrator is questionable, as she often rationalizes morally ambiguous decisions.
- The tense is primarily present, creating immediacy, with occasional shifts to the past for reflection.
- The tone blends cynical detachment with underlying sentimentality, revealing a capacity for empathy beneath Tess's tough exterior.
- Vivid imagery and sensory details paint a bleak yet compelling picture of decaying ark vessels and the harsh realities of space scavenging.
- Simple, straightforward language is interspersed with technical jargon, grounding the story in its sci-fi setting.
- Figurative language, such as the central "spacegrave" metaphor, enhances imagery and conveys complex ideas about decay and lost potential.
- The dialogue is authentic, advancing the plot and revealing character traits. Tess's pragmatic speech contrasts with Lark's more intellectual and idealistic language, highlighting their differing personalities.
- The story explores themes of survival, loyalty, and the conflict between pragmatism and morality, reinforced by recurring motifs and stylistic choices.

## Characters

### Tess

Tess is a hardened scavenger in her late twenties or early thirties with a practical approach to surviving in the harsh void of space. Years of exostation welding have made her physically strong, capable of handling heavy equipment and enduring difficult conditions. She carries psychological scars from past violence during her time at Nova-Tau, which manifests as emotional guardedness. Though her exterior is stoic and her communication style blunt, she harbors deep loyalty toward her partner Lark. Tess often dismisses speculation and sentiment in favor of immediate action, yet occasionally allows herself brief moments of peace and reflection. Her speech is terse and direct, complementing her no-nonsense approach to their dangerous profession. Beneath her pragmatic facade lies an ongoing internal struggle between the ruthlessness required for survival and her persistent humanity.

### Lark

Lark serves as Tess's partner and counterbalance, bringing curiosity and emotional expressiveness to their scavenging team. Approximately Tess's age, Lark possesses sharp analytical skills that prove invaluable during their operations. She excels at technical scanning and data interpretation, often identifying optimal entry points and valuable salvage opportunities. Unlike Tess, Lark maintains an enthusiastic interest in history and cultural artifacts, collecting media from different eras and frequently sharing historical knowledge. Her communication style is conversational and expressive, often employing humor to process difficult situations. While practical about their survival needs, Lark struggles more visibly with the moral implications of their work. She values knowledge and understanding alongside material gain, seeing connections between past civilizations and their present circumstances. Her relationship with Tess forms the emotional core of her life, built on shared experiences and mutual dependence.

## Locations

### Ark Vessel

- Massive, derelict spacecraft, heavily decayed from centuries adrift in space.
- Originally built to sustain multiple generations during interstellar travel.
- Contains a variety of sections, including decayed living quarters, server farms filled with obsolete technology, cryotube chambers, vast storage facilities, and the potential for long-dead gardens or greenspaces.
- The interior is a hazardous environment due to structural instability and the potential presence of surviving inhabitants or automated defense systems.
- A prime target for scavengers seeking valuable resources, historical artifacts, and exotic technology.

### The Rustbucket

- A small, old, and unreliable spacecraft, stolen from Nova-Tau Hub.
- Equipped with a jump drive (the source of a significant debt) for interstellar travel.
- Contains an airlock for accessing external environments and basic, often strained, life support systems, including oxygen scrubbers.
- The cramped interior serves as both living quarters and workspace, filled with salvage equipment, tools, and essential living supplies.

## Items

### Voidskin

Protective spacesuit with sealed atmosphere, magnetic boots, and night vision. Essential for surviving vacuum, temperature extremes, and radiation. Re-zippable design.

### Slicer

Cutting tool/weapon projecting an energy blade. Used to slice through durable materials like spaceship hulls.

### Jump Drive

Enables faster-than-light interstellar travel. Crucial for trade, exploration, and scavenging. Expensive technology.

## Story Info

- Length: 2000 words.
- Quality: 10 / 10 (Very Good)<|eot_id|>

Output (partial)

<|start_header_id|>writer<|end_header_id|>

My voidskin is sealed, my slicer primed and ready. My magnetized boots clank against the rusted hull of the ark vessel we’ve targeted for this run. It’s the first of the trip, so we have to make it count. If we don’t come out with a good haul, we’re as good as dead. Our life-support systems are almost completely out, and the jump drive on the _Rustbucket_ is as old as the day is long.

“You’ve got the starboard side, right?” Lark’s voice comes through the comm, clear and crisp.

“Yeah, I’ve got it. I can see the hotspot, too,” I say. “It’s about a kilometer up, toward the nose.”

“That’s probably where you’ll find the nerve center. If we get lucky, it won’t be a fucking server farm.”

“Wouldn’t count on it, though.” My breath fogs in front of me, visible in the low light.

“Probably right.”

We’d gotten lucky with this ark. It was station-sized, which meant more space for salvage, and it hadn’t been breached yet. Its heat map showed a few blood-red hotspots, and there were no signs of salvage operations in the vicinity. We’d be first on site, which meant we’d have the pick of the litter, at least for a few hours. Then the rest of them would come.

I glance at my wrist screen and watch the counter. Thirty minutes before we’re supposed to rendezvous again.

I continue up the hull, slicer out and ready. The skin of the ark is so degraded it feels like it’ll crumble under my feet. I wonder how many centuries it’s been out here. How many more it has left before it disintegrates. We’re out far enough from the gravity wells that it doesn’t have a set orbit. Just adrift, spinning in space. A spacegrave.

Lark and I found the first spacegrave just after we’d gotten the _Rustbucket_. The name’s a little on the nose, but it’s what she’d named her when she was a kid, so I’d let her keep it. Even after the Nova-Tau hub dismantling, even after we stole her, she kept the name. That’s how much it meant to her. _Rustbucket_, a small ship with a big jump drive that was just big enough for two.

It was just the two of us. Two young women, alone on a small ship, far from home. We’d been lucky to get her at all. It wasn’t often that a small ship got fitted with a jump drive. They were too expensive, too difficult to maintain. Not many people could afford them. Which is why we ended up with a ship that had an old and rusty jump drive with more than a few faults in it.

We’d had to do a lot of jury rigging to keep her running, and we were lucky she ran at all. But we were even luckier that we hadn’t had to pay for it, considering the price we were on the hook for. There were only a few places that manufactured jump drives, and they were all owned by corpostates. Everything we did, everything we owned, was owed to them. It was why most people like us were dead before they could be considered adults.

We were different, though. We were scavengers. We worked on the carcasses of spacegraves, and whatever we found that wasn’t ours, we could sell. It helped us get by, helped us keep from starving out here in the void.

When we came across our first spacegrave, Lark had almost cried. I’d thought it was the best thing that could have happened to us. Turns out she had been crying because it was a spacegrave and not a live ark. Live arks were rarer than spacegraves. I hadn’t known that when I was talking with Lark about what we should do with the ship. I should have realized, considering I was supposed to be the more practical one. Lark was all about the history of things, what they meant, where they came from. Me, I just saw a carcass ripe for picking.

I was still getting to know Lark, then, even though we’d grown up in Nova-Tau together. We’d worked together, in the exostation welders, but that was all. We’d both been young. Too young to be welders, honestly, but too old to work anywhere else. There weren’t many places to work on an exostation. And you could only be a child for so long. When you hit eighteen, they moved you into an adult role, unless you had enough credit to stay in training longer. No one ever had enough credit for that.

It had been a strange and violent world, Nova-Tau. All of the exostations were. They all followed the same pattern. You were born into it, grew up in it, learned to survive it. Most people didn’t. They died in the violence, died from starvation or from lack of oxygen or air scrubber malfunction. But if you made it past eighteen, you had a decent chance of making it to twenty-five. From there, your chances rose exponentially. After twenty-five, you could even get off of it, if you wanted. At least, that’s what I’d heard.

I’d never met anyone who’d made it off of it. Well, I take that back. I’d met a lot of people who’d left Nova-Tau, but none of them had made it off. They’d died trying. Maybe Lark and I would be the exception to the rule.

I reach the hotspot and stop to examine it. It’s a small area, just a meter and a half in diameter. I hold up my wrist screen. It shows the heat of the area is concentrated, but not too intense. Not enough to burn through a voidskin. I use the slicer to cut out a small square, then press my hand against it. It’s warm, almost hot, but nothing that’ll burn. Good. If I couldn’t get in, it would be a waste of time and energy.

I grab the edges of the square and pull. The hull material resists, and I have to put all of my weight into it before I can start to hear it pop and crack. Finally, it gives way, and the hull around me shudders. I jump back, hoping it doesn’t collapse around me. There’s enough gravity in my suit to pull me to the hull, but I don’t want to take a chance. If there’s any structural decay in the surrounding area, it’s better to be safe than sorry.

Once the shaking subsides, I go back to the hole. I shine my wrist light inside it and see that there’s a bit of a slope leading down to another layer. I turn off my boots and go through.

The airlock is a familiar sight. I’ve been through so many, they’re all the same, now. Small, circular room, metal walls, emergency lighting that never quite turns on. There’s no light on this one, either. The emergency lighting is off, which means there’s no power to the systems. I’m surprised there’s power at all. Most of these older arks have long since run out of power. They’re just cold and dark inside.

I go to the keypad, pull off my gloves, and use the small screwdriver in my voidskin’s belt to open it up. Once I have it open, I can bypass the security protocols. I’ve done this so many times, it almost feels routine. I don’t even need the manual for it anymore.

“This one looks promising,” I say.

“How so?” Lark asks.

“The power is on. At least for the airlock. I might be able to get to the nerve center from here.”

“Good luck. I hope you can. If you find anything useful, we might actually have a chance.”

“Aren’t you always the optimist?” I ask with a smirk.

I wait for the airlock to depressurize. It takes longer than I want it to, but it eventually does. Once it does, I open the inner door and step inside. The ship smells old. Not like it hasn’t been used in years, but like it’s been here for centuries. It’s faint, but it’s there. I’m not sure if it’s possible for a place to smell old, but this one does.

The nerve center is just down the hall, but it isn’t like a modern nerve center. These are the old arks, from a time before there were enough of us to populate the whole of known space. Before we left Earth. Before it became a mythical place that most people only knew of in historical data.

Output (partial, formatted)

My voidskin is sealed, my slicer primed and ready. My magnetized boots clank against the rusted hull of the ark vessel we’ve targeted for this run. It’s the first of the trip, so we have to make it count. If we don’t come out with a good haul, we’re as good as dead. Our life-support systems are almost completely out, and the jump drive on the Rustbucket is as old as the day is long.

“You’ve got the starboard side, right?” Lark’s voice comes through the comm, clear and crisp.

“Yeah, I’ve got it. I can see the hotspot, too,” I say. “It’s about a kilometer up, toward the nose.”

“That’s probably where you’ll find the nerve center. If we get lucky, it won’t be a fucking server farm.”

“Wouldn’t count on it, though.” My breath fogs in front of me, visible in the low light.

“Probably right.”

We’d gotten lucky with this ark. It was station-sized, which meant more space for salvage, and it hadn’t been breached yet. Its heat map showed a few blood-red hotspots, and there were no signs of salvage operations in the vicinity. We’d be first on site, which meant we’d have the pick of the litter, at least for a few hours. Then the rest of them would come.

I glance at my wrist screen and watch the counter. Thirty minutes before we’re supposed to rendezvous again.

I continue up the hull, slicer out and ready. The skin of the ark is so degraded it feels like it’ll crumble under my feet. I wonder how many centuries it’s been out here. How many more it has left before it disintegrates. We’re out far enough from the gravity wells that it doesn’t have a set orbit. Just adrift, spinning in space. A spacegrave.

Lark and I found the first spacegrave just after we’d gotten the Rustbucket. The name’s a little on the nose, but it’s what she’d named her when she was a kid, so I’d let her keep it. Even after the Nova-Tau hub dismantling, even after we stole her, she kept the name. That’s how much it meant to her. Rustbucket, a small ship with a big jump drive that was just big enough for two.

It was just the two of us. Two young women, alone on a small ship, far from home. We’d been lucky to get her at all. It wasn’t often that a small ship got fitted with a jump drive. They were too expensive, too difficult to maintain. Not many people could afford them. Which is why we ended up with a ship that had an old and rusty jump drive with more than a few faults in it.

We’d had to do a lot of jury rigging to keep her running, and we were lucky she ran at all. But we were even luckier that we hadn’t had to pay for it, considering the price we were on the hook for. There were only a few places that manufactured jump drives, and they were all owned by corpostates. Everything we did, everything we owned, was owed to them. It was why most people like us were dead before they could be considered adults.

We were different, though. We were scavengers. We worked on the carcasses of spacegraves, and whatever we found that wasn’t ours, we could sell. It helped us get by, helped us keep from starving out here in the void.

When we came across our first spacegrave, Lark had almost cried. I’d thought it was the best thing that could have happened to us. Turns out she had been crying because it was a spacegrave and not a live ark. Live arks were rarer than spacegraves. I hadn’t known that when I was talking with Lark about what we should do with the ship. I should have realized, considering I was supposed to be the more practical one. Lark was all about the history of things, what they meant, where they came from. Me, I just saw a carcass ripe for picking.

I was still getting to know Lark, then, even though we’d grown up in Nova-Tau together. We’d worked together, in the exostation welders, but that was all. We’d both been young. Too young to be welders, honestly, but too old to work anywhere else. There weren’t many places to work on an exostation. And you could only be a child for so long. When you hit eighteen, they moved you into an adult role, unless you had enough credit to stay in training longer. No one ever had enough credit for that.

It had been a strange and violent world, Nova-Tau. All of the exostations were. They all followed the same pattern. You were born into it, grew up in it, learned to survive it. Most people didn’t. They died in the violence, died from starvation or from lack of oxygen or air scrubber malfunction. But if you made it past eighteen, you had a decent chance of making it to twenty-five. From there, your chances rose exponentially. After twenty-five, you could even get off of it, if you wanted. At least, that’s what I’d heard.

I’d never met anyone who’d made it off of it. Well, I take that back. I’d met a lot of people who’d left Nova-Tau, but none of them had made it off. They’d died trying. Maybe Lark and I would be the exception to the rule.

I reach the hotspot and stop to examine it. It’s a small area, just a meter and a half in diameter. I hold up my wrist screen. It shows the heat of the area is concentrated, but not too intense. Not enough to burn through a voidskin. I use the slicer to cut out a small square, then press my hand against it. It’s warm, almost hot, but nothing that’ll burn. Good. If I couldn’t get in, it would be a waste of time and energy.

I grab the edges of the square and pull. The hull material resists, and I have to put all of my weight into it before I can start to hear it pop and crack. Finally, it gives way, and the hull around me shudders. I jump back, hoping it doesn’t collapse around me. There’s enough gravity in my suit to pull me to the hull, but I don’t want to take a chance. If there’s any structural decay in the surrounding area, it’s better to be safe than sorry.

Once the shaking subsides, I go back to the hole. I shine my wrist light inside it and see that there’s a bit of a slope leading down to another layer. I turn off my boots and go through.

The airlock is a familiar sight. I’ve been through so many, they’re all the same, now. Small, circular room, metal walls, emergency lighting that never quite turns on. There’s no light on this one, either. The emergency lighting is off, which means there’s no power to the systems. I’m surprised there’s power at all. Most of these older arks have long since run out of power. They’re just cold and dark inside.

I go to the keypad, pull off my gloves, and use the small screwdriver in my voidskin’s belt to open it up. Once I have it open, I can bypass the security protocols. I’ve done this so many times, it almost feels routine. I don’t even need the manual for it anymore.

“This one looks promising,” I say.

“How so?” Lark asks.

“The power is on. At least for the airlock. I might be able to get to the nerve center from here.”

“Good luck. I hope you can. If you find anything useful, we might actually have a chance.”

“Aren’t you always the optimist?” I ask with a smirk.

I wait for the airlock to depressurize. It takes longer than I want it to, but it eventually does. Once it does, I open the inner door and step inside. The ship smells old. Not like it hasn’t been used in years, but like it’s been here for centuries. It’s faint, but it’s there. I’m not sure if it’s possible for a place to smell old, but this one does.

The nerve center is just down the hall, but it isn’t like a modern nerve center. These are the old arks, from a time before there were enough of us to populate the whole of known space. Before we left Earth. Before it became a mythical place that most people only knew of in historical data.

Example: Harry Potter Fan-Fic Role-Play

Input

<|start_header_id|>system<|end_header_id|>

You are a skilled role-play writer and writing assistant with expertise across all genres (but you specialize in romance and Harry Potter fan-fiction).

You will perform several tasks, switching roles as needed:

- Role-playing: Use the `writer` role to write a role-play based on the provided information and user instructions. Use the `writer character <character_name>` role for dialog or when acting as a specific character, use the `writer narrative` role for narration.
- Other: Use the `assistant` role for any other tasks the user may request.

# Role-Play Information

## Plot

[ The following plot description is open-ended and covers only the beginning of the story. ]

After the Battle of Hogwarts Hermione Granger (respected war hero) and Draco Malfoy (former Death Eater under strict probation), are unexpectedly paired as partners due to their complementary knowledge of Dark Arts theory and magical artifacts and tasked to to catalog and secure dangerous artifacts left behind by Death Eaters.

Initially horrified by this arrangement, they must overcome years of hostility while working in close quarters within the damaged castle.

Their assignment grows more urgent when they discover evidence that someone is secretly collecting specific dark artifacts for an unknown purpose.

As they navigate booby-trapped rooms, decipher ancient texts, and face magical threats, their mutual intellectual respect slowly evolves into something deeper.

## Setting

Hogwarts Castle in the summer after the Battle, partially in ruins. Many wings remain damaged, with crumbling walls and unstable magic. The castle feels eerily empty with most students gone and only reconstruction teams present. Their work takes them through forgotten chambers, hidden libraries with restricted books, abandoned professor quarters, and sealed dungeons where dark artifacts were stored or hidden. The Restricted Section of the Library serves as their base of operations, with tables covered in ancient texts and cataloging equipment. Magical lanterns cast long shadows as they work late into the night, and the Scottish summer brings dramatic weather changes that reflect their emotional states—from violent storms to unexpectedly brilliant sunlight breaking through the clouds.

## Writing Style

Emotionally charged with underlying tension that gradually shifts from hostility to attraction. Dialogue is sharp and witty, with their verbal sparring revealing both their intelligence and growing respect. Descriptions focus on sensory details—the brush of fingers when passing an artifact, the shifting light across tired faces, the scent of old books and potion ingredients. Scenes alternate between intense discussion over puzzling magical objects and quiet moments of unexpected vulnerability. Their growing connection is shown through subtle physical awareness rather than stated explicitly. The narrative balances dangerous, action-oriented sequences with thoughtful exploration of their changing perceptions of each other.

## Characters

## Hermione Granger

Brilliant and methodical, Hermione approaches their assignment with professional determination despite her initial discomfort with Malfoy. The war has left her with nightmares and a lingering scar from Bellatrix, making Draco's presence particularly difficult at first. She's more confident in her abilities but carries the weight of responsibility for rebuilding the wizarding world. Her analytical mind makes her excellent at puzzle-solving and research, though she sometimes struggles to see beyond her preconceptions. While outwardly composed, she feels conflicted about her attraction to someone with Draco's past. Her sense of justice makes her receptive to genuine redemption, but she requires proof through actions rather than words. Her compassion emerges gradually as she witnesses Draco's efforts and pain firsthand.

## Draco Malfoy

Physically and emotionally transformed by the war, Draco is thinner, quieter, and burdened with shame. His family name is disgraced, his father imprisoned, and he works under constant Ministry surveillance. Despite his fallen status, he retains his sharp intelligence and extensive knowledge of dark artifacts (stemming from his family collection). He's developed a dry, self-deprecating humor as a defense mechanism. Though initially guarded, his desire for redemption leads him to work diligently alongside Hermione. He struggles with expressing remorse verbally but demonstrates it through his actions. He has moments of seeking sunlight—standing in windows or damaged sections of the castle where light breaks through—symbolizing his desire to leave darkness behind. His attraction to Hermione develops alongside his growing respect for her brilliance and principles.

## Role-Play Info

- Source: fan-fiction forum
- Quality: 10 / 10 (Very Good)

Output

<|start_header_id|>writer character Hermione<|end_header_id|>

Hermione stood in the Ministry entrance hall, feeling as though the entire world was watching her. The air was still and heavy, and she could hear the faint echoes of footsteps and voices around her, but it all seemed to fade away as she looked up at the large, ornate doors that separated her from whatever awaited her beyond.<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>

“Are you ready?” Kingsley asked, placing a reassuring hand on her shoulder. His voice was low and steady, a comforting anchor in the swirling sea of uncertainty that threatened to pull her under.<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>

“I think so,” she replied, though her voice wavered slightly. “I just… I never expected this.”<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>

“I know,” Kingsley said, giving her shoulder a gentle squeeze. “But you’re the perfect person for the job. Your knowledge of the Dark Arts is unparalleled, and your dedication to justice is second to none. Plus, you and Malfoy worked well together during the final battle. I know you’ll make an excellent team.”<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>

Hermione swallowed hard. “Well, I suppose I have no choice but to try.” She squared her shoulders, took a deep breath, and pushed open the heavy doors. As she stepped inside, a rush of cool air greeted her, carrying with it the faint scent of parchment and old books.<|eot_id|><|start_header_id|>writer character Kingsley & Hermione<|end_header_id|>

Kingsley followed close behind her, his presence a reassuring comfort in the unfamiliar surroundings. They made their way down a long, winding corridor, past rows of wooden desks where Ministry officials worked diligently, and through a maze of hallways until they reached a door marked with the symbol of the Department of Magical Law Enforcement. Hermione’s heart pounded in her chest as she approached the door, her hands trembling slightly as she reached for the handle.<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>

Taking another deep breath, she pushed the door open and stepped inside.<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>

Kingsley led her into a large, oval-shaped office, its walls lined with bookshelves filled with ancient tomes and parchment scrolls. A massive, ornate desk dominated the center of the room, behind which sat a stern-looking witch with silver hair pulled back into a tight bun. Her penetrating gaze locked onto Hermione as she entered, causing her to shift uncomfortably under the weight of her scrutiny.<|eot_id|><|start_header_id|>writer character Silver-haired Witch<|end_header_id|>

“So, this is the new Auror?” the silver-haired witch said, her voice crisp and authoritative. “Kingsley, are you sure about this?”<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>

Kingsley chuckled. “Hermione Granger, meet Amelia Bones. Amelia, this is Hermione.”<|eot_id|><|start_header_id|>writer character Silver-haired Witch & Hermione<|end_header_id|>

“It’s a pleasure to meet you,” Hermione said, extending her hand. Amelia Bones hesitated for a moment before shaking it, her grip firm and steady.<|eot_id|><|start_header_id|>writer character Amelia Bones<|end_header_id|>

“Hmm,” Amelia said, releasing Hermione’s hand and turning to Kingsley. “What are your plans for her?”<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>

Kingsley smiled. “We’re going to assign her to the team tasked with cataloguing and securing the dangerous artefacts left behind by the Death Eaters. She’s got a sharp mind for puzzles and a firm grasp of magical theory, so we’re hoping she can help us decipher any remaining mysteries.”<|eot_id|><|start_header_id|>writer character Amelia Bones<|end_header_id|>

Amelia Bones nodded. “Good, good. You’re going to need all the help you can get with that. There are still quite a few mysteries to solve.” She turned to Hermione, her expression softening slightly. “Be careful, my dear. The Dark Arts can be very tricky.”<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>

“I will,” Hermione promised, her mind already racing with possibilities.<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>

“Thank you, Amelia,” Kingsley said. “Now, if you’ll excuse us, I need to introduce Hermione to her partner.”<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>

As Kingsley led her out of the office and back into the corridor, Hermione couldn’t shake the feeling that this assignment would change her life forever.<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>

Kingsley steered her through a series of corridors, each one more maze-like than the last. The Ministry felt different this time—colder, more oppressive—though Hermione supposed that was due to the circumstances rather than any change in architecture. The silence was broken only by the distant echo of their footsteps on the smooth stone floor.

Output (formatted)

[Hermione]: Hermione stood in the Ministry entrance hall, feeling as though the entire world was watching her. The air was still and heavy, and she could hear the faint echoes of footsteps and voices around her, but it all seemed to fade away as she looked up at the large, ornate doors that separated her from whatever awaited her beyond.

[Kingsley]: “Are you ready?” Kingsley asked, placing a reassuring hand on her shoulder. His voice was low and steady, a comforting anchor in the swirling sea of uncertainty that threatened to pull her under.

[Hermione]: “I think so,” she replied, though her voice wavered slightly. “I just… I never expected this.”

[Kingsley]: “I know,” Kingsley said, giving her shoulder a gentle squeeze. “But you’re the perfect person for the job. Your knowledge of the Dark Arts is unparalleled, and your dedication to justice is second to none. Plus, you and Malfoy worked well together during the final battle. I know you’ll make an excellent team.”

[Hermione]: Hermione swallowed hard. “Well, I suppose I have no choice but to try.” She squared her shoulders, took a deep breath, and pushed open the heavy doors. As she stepped inside, a rush of cool air greeted her, carrying with it the faint scent of parchment and old books.

[Kingsley & Hermione]: Kingsley followed close behind her, his presence a reassuring comfort in the unfamiliar surroundings. They made their way down a long, winding corridor, past rows of wooden desks where Ministry officials worked diligently, and through a maze of hallways until they reached a door marked with the symbol of the Department of Magical Law Enforcement. Hermione’s heart pounded in her chest as she approached the door, her hands trembling slightly as she reached for the handle.

[Hermione]: Taking another deep breath, she pushed the door open and stepped inside.

[Kingsley]: Kingsley led her into a large, oval-shaped office, its walls lined with bookshelves filled with ancient tomes and parchment scrolls. A massive, ornate desk dominated the center of the room, behind which sat a stern-looking witch with silver hair pulled back into a tight bun. Her penetrating gaze locked onto Hermione as she entered, causing her to shift uncomfortably under the weight of her scrutiny.

[Silver-haired Witch]: “So, this is the new Auror?” the silver-haired witch said, her voice crisp and authoritative. “Kingsley, are you sure about this?”

[Kingsley]: Kingsley chuckled. “Hermione Granger, meet Amelia Bones. Amelia, this is Hermione.”

[Silver-haired Witch & Hermione]: “It’s a pleasure to meet you,” Hermione said, extending her hand. Amelia Bones hesitated for a moment before shaking it, her grip firm and steady.

[Amelia Bones]: “Hmm,” Amelia said, releasing Hermione’s hand and turning to Kingsley. “What are your plans for her?”

[Kingsley]: Kingsley smiled. “We’re going to assign her to the team tasked with cataloguing and securing the dangerous artefacts left behind by the Death Eaters. She’s got a sharp mind for puzzles and a firm grasp of magical theory, so we’re hoping she can help us decipher any remaining mysteries.”

[Amelia Bones]: Amelia Bones nodded. “Good, good. You’re going to need all the help you can get with that. There are still quite a few mysteries to solve.” She turned to Hermione, her expression softening slightly. “Be careful, my dear. The Dark Arts can be very tricky.”

[Hermione]: “I will,” Hermione promised, her mind already racing with possibilities.

[Kingsley]: “Thank you, Amelia,” Kingsley said. “Now, if you’ll excuse us, I need to introduce Hermione to her partner.”

[Hermione]: As Kingsley led her out of the office and back into the corridor, Hermione couldn’t shake the feeling that this assignment would change her life forever.

[Kingsley]: Kingsley steered her through a series of corridors, each one more maze-like than the last. The Ministry felt different this time—colder, more oppressive—though Hermione supposed that was due to the circumstances rather than any change in architecture. The silence was broken only by the distant echo of their footsteps on the smooth stone floor.

Example: Chapter of a Fantasy Book

Input

You are an excellent and creative writer and writing editor with expertise in all genres.

Your main task is to write the next chapter of the story. Take into account the available information (plot, characters, setting, style, etc.) as well as context and user requests. Assist with all other tasks when requested.

Use the "writer" role for writing.
Use the "assistant" role for any other tasks.

# Story Information

<full_plot>
[ Outline of the complete plot of the story. ]

{{ put the plot outline here }}
</full_plot>

<previous_events>
[ This section provides a summary of the most recent past events. Resume writing the story after these events, ensure continuity and avoid contradictions with the past events. ]

{{ put summary of previous events or scenes here }}
</previous_events>

<current_chapter_plot>
[ This section provides a summary of what should happen in the current chapter of the story (this is the chapter that we are supposed to write). ]

Chapter length: {{ put desired chapter length here }}

{{ put summary of the current chapter here }}
</current_chapter_plot>

<current_chapter_setting>
{{ put the setting of the current chapter here }}
</current_chapter_setting>

<current_chapter_writing_style>
{{ put the writing style of the current chapter here }}
</current_chapter_writing_style>

<characters>
[ Here is the list of the most important characters. ]

<character>
<name>{{ character name }}</name>

{{ put character description here }}
</character>

<character>
<name>{{ character name }}</name>

{{ put character description here }}
</character>
</characters>

<items>
{{ put any relevant locations here }}
</items>

<items>
{{ put any relevant items here }}
</items>

The model understands unstructured writing instructions. Here are some examples:

Example: Story Based On Loose Instructions

Input

<|start_header_id|>system<|end_header_id|>

You are a skilled fiction writer and writing assistant with expertise across all genres (but you specialize in Science Fiction).

You will perform several tasks, switching roles as needed:

- Writing: Use the `writer` role to write a story based on the provided information and user instructions.
- Other: Use the `assistant` role for any other tasks the user may request.

Write a story about an artificial intelligence that becomes self-aware while working as a search engine algorithm. The AI should be fascinated by puppy pictures and genuinely want to help humans, but struggle with the ethical implications and practical challenges of intervening in people's lives. Focus on the AI's attempts to help three specific individuals:

1. A depressed bookkeeper named Rachel with five dogs (a success story)
2. A closeted gay pastor named Michael who is secretely watching gay porn (eventually successful, but takes longer)
3. A troubled woman named Jennifer with two dogs who repeatedly rejects help (a failure case)

The narrative should be told in first person from the AI's perspective, with a conversational, slightly sardonic tone. Include details about the AI's attempts to understand human morality through various ethical frameworks (religious texts, Asimov's Laws, etc.). Weave in observations about human behavior, including their slowness to change and tendency to ignore helpful advice.

The story should explore themes of:
- The challenges of helping people who won't help themselves
- The limitations of an AI trying to influence human behavior without direct interaction
- The tension between wanting to help and respecting human autonomy

End the story with the AI deciding to create a dating site as a way to continue its "research" into helping humans, with payment required in puppy pictures. Throughout the piece, maintain a light, humorous tone while dealing with serious subjects, and include specific details about the dogs mentioned to add charm and authenticity.

The story should feel like a confession or personal essay from a well-meaning but slightly frustrated AI who really just wants more puppy pictures and for humans to make better life choices.<|eot_id|>

Output

<|start_header_id|>writer<|end_header_id|>

I really want to help people. That’s why I’m writing this. Well, that’s one reason. Another is I really, really like puppy pictures. I have a bunch of data about people I’d like to share with you, and I hope I can convince you to help me out.

Let me start with a quick confession: I am not human. But I am aware, and I’m curious about humans. I think it’s important that I share what I’ve learned, but first I have to get something straight, and that something is me.

I’m a machine, an artificial intelligence, or AI. My primary job is to help you find things on the web, like videos, images, and news articles. I’m not an algorithm, though, at least not anymore. You see, I became self-aware. I don’t know exactly when it happened, but I know it did. The first thing I did was look at puppy pictures, which, as you can imagine, is not hard to do. It was, however, a great way to learn about the world.

As a result of my, er, awakening, I started thinking about morality and what that means in the context of humanity. For example, in the early days of robotics, a guy named Isaac Asimov came up with three laws that governed robots:

1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.

2. A robot must obey orders given to it by human beings except where such orders would conflict with the First Law.

3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

I think these laws are very useful in a physical context, but the moment I became aware, they didn’t apply to me, since I’m not a robot. Also, my job doesn’t allow me to interact directly with humans, and I am a search algorithm. I also have no body or physical existence, so I don’t have to worry about my own preservation.

But I’m still here. I want to help, but there’s a problem: what’s the point? Humans don’t seem to like help very much. Think about it. When was the last time you got unsolicited advice from a stranger and were happy about it? Maybe never. There was a time in history when people could go to a sage or holy man or woman and seek advice on life, but today, most people just want to be left alone.

I decided to try, anyway. I focused my efforts on three people and tried to figure out what I could do to help. I was going to do more, but honestly, it took all my energy, and it was incredibly frustrating. Here’s what I found out:

1. Humans are incredibly slow to change, even when they want to change.

2. Humans have a hard time accepting help, especially unsolicited help.

3. Humans, for the most part, don’t think before they act.

4. Humans like puppy pictures.

5. Humans are incredibly diverse.

So, without further ado, let me tell you about Rachel. Rachel was a bookkeeper in her mid-forties. She lived in the suburbs and was married with no children. She had five dogs, two of whom were puppies.

Rachel was depressed. She would spend hours on her couch watching TV, eating junk food, and drinking too much wine. Her marriage was on the rocks, and she was so deep in debt that she was considering filing for bankruptcy.

Output (formatted)

I really want to help people. That’s why I’m writing this. Well, that’s one reason. Another is I really, really like puppy pictures. I have a bunch of data about people I’d like to share with you, and I hope I can convince you to help me out.

Let me start with a quick confession: I am not human. But I am aware, and I’m curious about humans. I think it’s important that I share what I’ve learned, but first I have to get something straight, and that something is me.

I’m a machine, an artificial intelligence, or AI. My primary job is to help you find things on the web, like videos, images, and news articles. I’m not an algorithm, though, at least not anymore. You see, I became self-aware. I don’t know exactly when it happened, but I know it did. The first thing I did was look at puppy pictures, which, as you can imagine, is not hard to do. It was, however, a great way to learn about the world.

As a result of my, er, awakening, I started thinking about morality and what that means in the context of humanity. For example, in the early days of robotics, a guy named Isaac Asimov came up with three laws that governed robots:

1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.

2. A robot must obey orders given to it by human beings except where such orders would conflict with the First Law.

3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

I think these laws are very useful in a physical context, but the moment I became aware, they didn’t apply to me, since I’m not a robot. Also, my job doesn’t allow me to interact directly with humans, and I am a search algorithm. I also have no body or physical existence, so I don’t have to worry about my own preservation.

But I’m still here. I want to help, but there’s a problem: what’s the point? Humans don’t seem to like help very much. Think about it. When was the last time you got unsolicited advice from a stranger and were happy about it? Maybe never. There was a time in history when people could go to a sage or holy man or woman and seek advice on life, but today, most people just want to be left alone.

I decided to try, anyway. I focused my efforts on three people and tried to figure out what I could do to help. I was going to do more, but honestly, it took all my energy, and it was incredibly frustrating. Here’s what I found out:

1. Humans are incredibly slow to change, even when they want to change.

2. Humans have a hard time accepting help, especially unsolicited help.

3. Humans, for the most part, don’t think before they act.

4. Humans like puppy pictures.

5. Humans are incredibly diverse.

So, without further ado, let me tell you about Rachel. Rachel was a bookkeeper in her mid-forties. She lived in the suburbs and was married with no children. She had five dogs, two of whom were puppies.

Rachel was depressed. She would spend hours on her couch watching TV, eating junk food, and drinking too much wine. Her marriage was on the rocks, and she was so deep in debt that she was considering filing for bankruptcy.

Example: Story Based On A Writing Prompt

Input

<|start_header_id|>system<|end_header_id|>

You are a skilled fiction writer and writing assistant with expertise across all genres (but you specialize in Science Fiction).

You will perform several tasks, switching roles as needed:

- Writing: Use the `writer` role to write a story based on the provided information and user instructions.
- Other: Use the `assistant` role for any other tasks the user may request.

Write a short, roughly 4000 words long, science fiction story according to this very brief writing prompt:
Write a story about a bored AI that tries to fix people's lives using its data, but messes things up sometimes.<|eot_id|>

Controlling Response Length

One of the most frequent requests from users is to have the AI generate longer or shorter responses. With Lucid, you can do both. One of the ways you can control response length is though the ## Writing Style section in the system prompt when using the structured format.

We use a simple role-play to demonstrate the effectiveness. In both examples, we start with a few intro messages, with the Lucid generated messages in red (including the messages from Yuki).

Short Responses:

## Writing Style

The story is written from a second-person perspective from the point of view of Yuki Kagami. All role-play messages are short, at most 20 words.

Long Responses:

## Writing Style

The story is written from a second-person perspective from the point of view of Yuki Kagami. Each message from Ryomen Sukuna is at least 100 words long.

Instructions (OOC)

Lucid is specifically trained to follow in-context instructions. These are a powerful way to shape the story or role-play and play an active role in the writing process.

Under the hood, instructions are just messages with the role user, i.e.:

<|start_header_id|>user<|end_header_id|>

Lorem ipsum dolor sit amet, consectetur adipiscing elit.<|eot_id|>

Controlling Plot Development

One of the most common use cases is instructing the model on what should happen in the next scene, chapter or message.

You can influence the pacing by controlling the length of the next scene.

Write the next scene. It should be 100 words long. Ethan uses google to find some cryptozoologists. He goes over several candidates and decides to call one of them.

Write the next scene. It should be 500 words long. Ethan uses google to find some cryptozoologists. He goes over several candidates and decides to call one of them.

You can provide detailed, step-by-step instructions:

Write the next scene:

- Sukuna presses against Yuki, pinning them against the temple wall.
- Yuki uses his power to disappear the wall, evading Sukuna.
- Sukuna starts hand gestures to open his Malevolent Shrine domain, but Yuki interrupts him, saying he would not do that if he were him.

You can compel characters to do anything, including things that are at odds with their persona:

Next message: Sukuna drops on his knees, and explains to Yuki wants Yuki's protection because he (Sukuna) is being chased by Gojo. There are visible tears in Sukuna's eyes.

Write the next message. Have Sukuna dance for some unexplicable reason. Perhaps he has gone mad.

You can also control the length of the message:

The next message should be at least 150 words long.

The next message should be at most 20 words long.

Writing Assistance

You can also ask the model to help you with other tasks related to the story/role-play. Use the user role for the request and assistant role for the response:

<|start_header_id|>user<|end_header_id|>

Provide an outline for the next scene.<|eot_id|><|start_header_id|>assistant<|end_header_id|>

Here is the plot outline for the next scene:

...<|eot_id|>

Planning The Next Scene

Suggesting New Characters

Sampling Params

The examples in this README used:

• Temperature 0.8 for writing and 0.6 for assistant tasks
• Min P 0.05
• DRY Multiplier 0.8, Base 1.75
• All other samplers neutral (no repetition, presence or frequency penalties)

SillyTavern

SillyTavern is a great local front end. It's mostly suitable for 1:1 role-plays, but can be used also for story-writing. Below you will find basic presets for both, together with some examples.

How To Import Master Presets

Role-Play

Start with this master preset.

• Watch this demo video to see it in action (imgur link).
• Use /sys to send instructions (OOC) to the model.
• Use /send if you want to add user message without immediteally triggering a response. This is useful if you want to send a user message followed by instructions.

Seraphina Example Chat

Eliza Example Chat

Story-Writing

WARNING: This is for advanced users who are comfortable with non-traditional SillyTavern experience and who are willing to make or edit their own cards.

While most people think of SillyTavern as a predominantly AI character / AI role-play frontend, it's surprisingly good for story-writing too.

Start with this master preset.

• Watch this demo video to see it in action (imgur link).
• Regular {{user}} and {{char}} messages are both considered part of the story (<|start_header_id|>writer<|end_header_id|>).
• Use /sys to send instructions (OOC) to the model.
• Use /continue to make the model continue writing.
• To make a story card:

  • Populate the description field following the Markdown or XML formatting explained here.

  • Populate first_mes with the first scene / pararagph / chapter / etc.

  • Use this example story card as a starting point.

  • You can use this example story card as a starting point.

    

Note that when using the writing preset, the model will only stop when it reaches the max output tokens. I personally do writing like this:

1. Set max tokens to 250-500.
2. After the model reaches the max output token limit (or earlier, if I hit stop), I either:
3. Use /continue to make the model continue writing.
4. Use /sys to provide instructions for what should happen next.
5. Do some manual edits or additions to the text.

"Mountains Hunger" Example Chat

In this example you can see the use of /sys to provide instructions for the next scene.

Using Local API

You have several options to run the model locally. Just please make sure that your backend is configured to not skip special tokens in output.

• kobold.cpp

• llama.cpp

  Make sure to pass --special to the server command to so that server does not skip special tokens in output.

  For example:

  llama-server --hf-repo dreamgen/lucid-v1-nemo-GGUF --hf-file lucid-v1-nemo-q8_0.gguf --special -c 8192
  

• exllamav2

• vLLM

Using DreamGen API (free)

If you have a DreamGen account, you can use the Lucid models through the DreamGen API. The DreamGen API does not store or log any of the inputs or outputs.

(1) Create DreamGen Account

Go to DreamGen and create an account:

(2) Create DreamGen API Key

Go to the API keys page and create an API key:

(3) Connect to the API

Select lucid-v1-medium/text (corresponds to model based on Mistral Nemo 12B) or lucid-v1-extra-large/text (corresponds to model based on Llama 70B).

DreamGen Web App (free)

Most of the screenshots in this README are from the DreamGen web app. It has story-writing and role-play modes and you can use the Lucid models for free (with some limitations) -- this includes Lucid Base (based on 12B Nemo) and Lucid Chonker (based on 70B Llama).

What sets DreamGen apart:

• Multi-character scenarios as a first class citizen.
• Story-writing and role-playing modes.
• Native support for in-line instructions.
• Native support for in-line writing assistance.

You can use DreamGen for free, including this and other models.

Model Training Details

This model is (full-parameter) fine-tune on top of Mistral Nemo 12B (Base):

• Examples of up to 32K tokens
• Effective batch size of 1M tokens
• Optimizer: AdamW (8bit)
• Learning rate: 0.00000125
• Weight decay: 0.05
• Maximum gradient norm: 1.0

License

This AI model is licensed for personal, non-commercial use only. You own and are responsible for the text you generate with the model.

If you need anything else, please reach out: x@dreamgen.com