This set shows strong variety in how CROCK gets handled: object, insult, cookware, and comic endpoint. The better poems make that flexibility work by building a clear lexical field around the constraint words instead of merely dropping them in. Mark’s “LIGHT BREAK of ethics / DRUNK CROOK ponders his action / Rueful, that’s a CROCK” is a good example: the language of wrongdoing, reflection, and dismissal all belongs to the same tonal world, so the final word feels inevitable. Across the set, the strongest entries also use the third line well, making it do a real turn in meaning rather than just closing the sentence.