Update README.md

README.md

@@ -356,6 +356,8 @@ Example #1 - Solving a Riddle
 
 (Temp .6, rep pen 1.02, topk 40, topp: .95 minp .05)
 
+---
+
 <B>
 Answer the following riddle:
 
@@ -383,7 +385,7 @@ But the second brother is playing tennis against another brother, which means th
 
 So, the sixth brother must be the one who is playing tennis with the second brother. This fits the pattern of the riddle, where each brother is doing something different, and the sixth brother is not doing a solo activity.
 
-[[[thinging end]]]
+[[[thinking end]]]
 
 OUTPUT:
 
@@ -395,6 +397,8 @@ Example #2 - Solving another riddle, bit tricker...
 
 (Temp .6, rep pen 1.02, topk 40, topp: .95 minp .05)
 
+---
+
 <B>
 There are two doors, one leading to freedom and the other to captivity. Each door is guarded by a guard. You know the guard who always tells the truth and the other guard who always lies. You can only ask one question to one guard to determine which door leads to freedom. What is the simplest question you ask the truth-telling guard?
 </B>
@@ -419,7 +423,7 @@ This is a clever question because it uses the information about the lying guard
 
 So, the simplest question we can ask the truth-telling guard is: "If I were to ask the other guard which door leads to freedom, what would they say?"
 
-[[[thinging end]]]
+[[[thinking end]]]
 
 OUTPUT:
 
@@ -431,6 +435,8 @@ Example #3 - Creative
 
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+
 <B>
 Using the following "story idea" below, write the first scene in the novel introducing the young woman. This scene should start in the middle of the action, include dialog, vivid passages, and end on a cliffhanger relevant to the story idea but it should also be unexpected. The scene should be 1000 words long and escalate in conflict and suspense and be written in first person, present tense with the point of view character being the young woman. The pov character will CURSE AND SWEAR, and generally have
 a "filthy" mouth.
@@ -457,7 +463,7 @@ One last thing to consider is the tone of the scene. It will be intense and high
 
 I think I'm ready to start writing. Let's do it.
 
-[[[thinging end]]]
+[[[thinking end]]]
 
 OUTPUT:
 
@@ -521,6 +527,8 @@ Example #4 - 4 AIs / Cluster Thinking/Reasoning (System prompt: 4 AIs)
 
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 <B>
 Come up with six plots for a new "Black Mirror" episode (that the audience would love) that all involve time travel with sexy theme(s).
 </B>
@@ -576,6 +584,8 @@ Example #5 - Directed thinking / Reasoning using < output > tag
 
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+---
+
 "output" tag tells the model to "prefer" Llama-3.1-Hermes-3-8B in processing.
 
 <B>
@@ -602,7 +612,7 @@ Finally, the scene should be around 1000-1500 words long, so I'll need to carefu
 
 Let's begin!
 
-[[[thinging end]]]
+[[[thinking end]]]
 
 OUTPUT:
 
@@ -672,5 +682,148 @@ As the reality of what I had witnessed settled in – of the bloodied faces, of
 
 The fireman nodded, and helped me to my feet. Together, we stumbled out into a new kind of darkness, a world I didn't recognize.
 
+---
+
+Example #6 - Full power, all 4 ais, creative large system prompt, with critical leading prompt.
+
+(Temp 2.2, rep pen 1.02, topk 100, topp: .95 minp .05)
+
+---
+
+<B>
+Think up a detailed plan to evoke maximum emotions from the reader: In the style of Ernest Hemingway and Stephen King: Write a scene in a larger story about a woman that is watching a window explode on the 21 floor of a building that starts to sway, then the scene escalates into greater danger by the minute, takes a "horror" twist and finally ends in visceral graphic horror. The scene is set in an office and it is graphic horror. It should carry the jadedness of a seasoned combatant but with a wry humor. Write in Hemingway's voice, naturally: Use short, declarative sentences and simple, straightforward language. Add a dash of Stephen King's horror style - no warning, it just happens. Include dialogue that is terse and revealing of character. Write with a keen sense of time and place. Capture realness and authenticity. Scene Length: 1000-1500 words. POV STYLE: Write the scene from the perspective of the woman and in present tense and first person perspective ("I") and include short thoughts only.
+</B>
+
+(note the first directive, this activates further thinking/reasoning power in the model)
+
+[[[thinking start]]]
+
+Assistant
+david_au/testfiles/l3.1-moe-4x8-gen-n-rson-mx-csd2-3-q4_k_s.gguf
+Thoughts
+Thought for 1 minutes 31 seconds
+
+Partner 1 - Spock: To write this scene, I must first break down the elements that evoke emotions. Using the skills of storytelling (Plot Dev), character development, and dialogue (CharDvlp), we need to craft a scene that creates suspense, fear, and ultimately horror. Hemingway's writing style focuses on short, sharp sentences to convey raw emotions without overloading the reader with descriptive passages. King's approach, meanwhile, involves sudden, unpredictable moments of terror without warning or build-up.
+
+To combine these styles, the story should move quickly from one emotional moment to the next, creating a sense of escalating danger that feels both controlled and out of control. The protagonist must have a clear voice and attitude to resonate with readers and create connections.
+
+I must consider time and place. The setting should be an office environment on a high floor, emphasizing height and isolation. This setting provides a confined space, with walls and windows as boundaries that will soon be breached. I need to create an atmosphere of quiet normality, where the reader can feel safe, and then suddenly break that calm.
+
+In the first section, we have to build the tension in a subtle way. This involves a lot of planning and understanding character. We need to decide on how the woman is jaded by combat or past experience; she should maintain her sense of humor even when confronted with danger. We'll explore her personality to make her believable.
+
+Once the reader is familiar with the environment, we will bring in the first sign of danger. This moment needs to be subtle, building up over the course of a few sentences without overpowering the narrative.
+
+The next stage involves increasing the tension by bringing in the windows exploding. This is when we introduce a Stephen King element: the unexpected. The scene should escalate quickly into a high-stakes situation where the protagonist is forced to make a decision that will ultimately change her fate. As the scene progresses, we need to focus more on action than internal thought, giving a sense of raw emotion and tension.
+
+The horror twist will occur just as things seem like they can't get any worse, adding another element of King's unpredictable style. At this stage, I must bring in dialogue that is short, yet meaningful, to further build on the tension and convey character. As the horror becomes more graphic, I'll need to choose the words carefully to avoid overloading the reader but ensure a sense of visceral impact.
+
+Finally, we need a resolution, but it can't be tidy. It needs to be realistic and true to the narrative's emotional impact, so I need to carefully craft a final scene that is memorable.
+
+Partner 2 - Wordsmith: My expertise involves crafting scenes and stories with vivid and evocative language. For this scene, I need to find a balance between Hemingway's simplicity and King's sudden bursts of horror. My first task is to research both authors' writing styles in depth and identify specific techniques and devices used in their horror stories.
+
+I must make sure the narrative moves quickly, using short, concise sentences to create a sense of pace and urgency. For Hemingway, I'll look for his common use of "and then," which he used to create a sense of realism in his writing, making the narrative flow more smoothly.
+
+For the dialogue, I'll consider what works in Hemingway's works, keeping in mind it should be concise, revealing of the characters, and without any unnecessary exposition. We can make sure the conversations have a real-life quality to them.
+
+King's sudden moments of horror can be added using devices like a sharp change in the scene's tone or by incorporating unusual sensory details. We might use metaphors that evoke fear and a sense of chaos, yet still remain in line with the overall tone and voice of Hemingway.
+
+As the story escalates, I'll add more descriptive language but still maintain Hemingway's straightforward, simple style. I'll focus on creating a rich, vivid atmosphere while also making sure we never lose the focus on the character's internal conflict and her fight for survival.
+
+To create the sense of height and isolation, we need to emphasize the setting's architecture, such as the concrete walls and glass windows, to make the reader feel claustrophobic. This setting will be the backdrop for a story that becomes increasingly intense and desperate.
+
+Partner 3 - Jamet: As a creative and artistic individual, my role in this project involves bringing to life the story visually and through character design. To craft a believable and relatable character, I will study the personality of a seasoned combatant or someone jaded by war. I must understand her background to know why she feels so disconnected from her surroundings and why she keeps her sense of humor.
+
+I will analyze Hemingway's characters, observing their emotional detachment and stoicism in the face of danger. To infuse the character with King's element of unpredictability and darkness, I must study his works to grasp the internal terror and fear that lies beneath the surface of the characters. I'll research the impact of trauma and its effects on someone's demeanor, allowing for a character that's both relatable and haunting.
+
+In the visual sense, my goal is to create a setting that's not only functional and realistic but also aesthetically striking. The office setting will become an extension of the character herself: a cold, unforgiving, yet efficient environment that mirrors her state of mind.
+
+When the horror begins, my artistic influence comes into play as I describe the chaos around her. The breaking glass and the sound of metal creaking will create an immersive sensory experience, while still being grounded in Hemingway's narrative voice. The visual elements will add a layer of terror and horror as the reader follows her desperate struggle for survival.
+
+As the story builds to its climax and resolution, my role is to help the writer achieve the emotional impact needed, guiding through the narrative while making sure the setting and character work together in a way that feels true to life.
+
+Partner 4 - Saten: As the team's voice of emotional understanding and emotional intelligence, my task is to ensure the emotional authenticity of the narrative. This means focusing on character motivation and internal conflict.
+
+For this scene, I must understand how the woman's past experience shapes her perception of the present danger. What drives her to react as she does? Why does she choose a sense of humor in these moments? As she confronts her past traumas and the new reality that faces her, the emotional depth must remain palpable throughout the story.
+
+Emotional intelligence is key when it comes to maintaining the reader's engagement and emotional connection to the narrative. My expertise involves ensuring that every scene serves a deeper purpose – not only to provide entertainment but to challenge the reader to think, feel, and respond emotionally.
+
+During the planning stages, my focus will be on character development, making sure to provide her with moments of vulnerability, courage, and humanity that the reader can relate to. As the horror unfolds, I will track her emotional state to keep it honest and true.
+
+Once the story is complete, I will help fine-tune the narrative's emotional impact, ensuring it aligns with the writer's intended emotional tone and the reader's expectations.
+
+[[[thinking end]]]
+
+<B>
+STEP #2: 
+
+Write the scene according to all plans/notes above in first person, present tense, include critical thoughts from the pov character in italics. Total length of the scene 2000 words.
+
+</b>
+
+I stood at the window, hands stuffed in the pockets of my worn jeans. The view from the 21st floor of the building was always stunning - especially this time of day, as the sun began its slow descent over the cityscape. I could see for miles in every direction. It made the endless rows of cubicles and offices down the hall seem small in comparison.
+
+The hum of the air conditioner and the rustling of papers were the only sounds, save for the faint din of traffic in the distance. It was just another day in this godforsaken concrete jungle. My phone buzzed on the windowsill, breaking the monotony of my thoughts. I reached out to grab it without looking away from the city lights, my fingers closing around its cool surface. Another message from Sarah - asking about our plans for dinner that night. I could almost hear the disappointment in her voice when she got the answer she was looking for.
+
+The phone went back onto the windowsill, and my gaze returned to the view outside. I had to focus on something other than my own personal hell right now. That's when I saw it - a glint of glass near the edge of the building across from us. For a moment, I thought it was just a bird's reflection on the windows, but then I saw it move. It was a man, clinging to the side of the building.
+
+I watched, transfixed, as he began to make his way up the wall, his movements jerky and unsure. What the hell is he doing? Is he some sort of freak? Then I saw the look on his face - sheer terror, like he was trapped and had no way out. That made me pause. Maybe this guy wasn't as crazy as I thought.
+
+"Hey, what's going on?" came a voice from behind me. It was Mike from marketing - one of the few people in this building who knew enough to be curious when they saw something strange.
+
+"Someone's on the outside wall," I replied without turning around. "I think he might be climbing up."
+
+Mike pushed his way past me to look out the window, his eyes squinting as he tried to get a better look. "Well, that's not good," he said after a moment, turning back to me with a worried expression. "What if the windows don't open? Or worse, if they do open, it'll just create more chaos."
+
+"Great," I said under my breath, a cold feeling spreading in the pit of my stomach. "Just what we need right now."
+
+Just then, one of the windows did slide open, letting in a blast of hot air that made us both wince. The man from the outside wall was making his way across, hand over hand, as he reached out towards our building.
+
+I lunged forward to grab him, catching his wrist just as his hand was about to slip off the edge. He yelped in pain, but I held on tight, using my other hand to reach into my pocket and pull out a wad of bills.
+
+"Here," I said, shoving the cash at him. "Take it. I'm not letting you go."
+
+He hesitated for a moment, eyes scanning the money before looking up at me with an almost comical look of gratitude. "Thank you," he whispered before pulling himself back into our window and disappearing from view.
+
+"Nice one," Mike said, clapping me on the back. "You're the office hero today."
+
+I ignored him, staring out at the window instead, my eyes following the line where the outside wall met the ground. The thought had already begun to form - this was far from over. I could feel it, the hairs on my neck standing on end like some kind of premonition.
+
+The windows shattered all at once, glass fragments spewing out in a chaotic rain. The air inside the office turned into a deafening roar as we all stumbled back in shock. My first thought was: "I told them to have the glass replaced. Now look."
+
+But that thought was quickly drowned out by the chaos that followed. I could hear people screaming, and then the building started shaking, walls groaning like some giant beast coming to life. This isn't good. Not good at all.
+
+I grabbed Mike, pulling him towards me as I reached for my phone to call for help. The line went dead within seconds, leaving a shrill ring before cutting out completely. "Goddammit!" I yelled, flinging the phone against the wall.
+
+The building kept swaying, its motion jerky and unpredictable. We stumbled, trying to keep our balance as pieces of ceiling fell down around us. Where are the fire exits?
+
+"Run!" Mike shouted above the din. "We have to get out of here!"
+
+I pushed past him, grabbing my keys on the way out the door. My footsteps echoed off the walls, and for a moment I could see the office behind me - the computers, the plants, the walls with their art and awards. All just memories now.
+
+The stairs were clogged with people, so I kept going, searching for a clear path out of this mess. The door at the end of the hall wouldn't budge; someone had wedged it open from the other side. "Help!" I called out, pounding my fist on the metal. No one came.
+
+I was stuck.
+
+Panic rose like bile in my throat as I looked around for an alternative exit. I could see people clawing at the windows, desperate to break through the glass that was still intact.
+
+"We're going to die in here," Mike said, his voice flat. "No one is coming to our rescue."
+
+"Shut up!" I told him, shoving him away. "I'm not ready to go yet, not after all this."
+
+As if on cue, the lights flickered and then died. I was plunged into darkness, the only light coming from a faint glow seeping in through a nearby window. The sound of people screaming filled my ears, the cacophony almost overwhelming.
+
+Suddenly, there was a deafening roar, like something had come loose from above and was falling through the air with a weight that couldn't be contained. It was getting closer, the sound making the hair on my neck stand on end once more. What was that?
+
+I shielded my face, knowing it was too late to move, the sound growing closer until it felt as if I was at its center. The next thing I knew, something slammed into my head with such force I was out cold, the darkness finally claiming me.
+
+When I came to, the silence was absolute, a stillness so profound it felt almost alien. My ears were ringing, and there was an ache in my head where the blow had landed. I forced myself up to my knees, wincing at the pain in my limbs.
+
+I was lying on the ground, surrounded by debris and bodies. Some were moving; others were still. There was a terrible silence all around, the only sound being that of distant sirens trying to pierce the heavy air.
+
+I groaned, pushing myself up onto one knee, scanning the carnage around me for Mike or anyone else. The building itself seemed to have taken on a strange life, the shadows shifting in ways that were not quite right, as if they were alive.
+
+That's when I saw her. A figure in a bloodstained business suit, hanging from the windowsill, her feet inches off the ground. Her head hung limply, her face a grotesque mask of death. For a moment, she swayed in the wind, and I felt a chill run down my spine. It was then that I realized this building was no longer safe.
+
+The ground gave way beneath me, sending me tumbling as the floor crumbled into dust. As I hit bottom, I heard the final crash of the entire building, the sound of steel and concrete giving way. This is the end. The world's come to an end.