This is a hard haiku constraint because DRAKE is highly specific but tonally unstable. It can point toward duck, celebrity, surname, or odd proper-noun echo, which means the poem has to choose a lane fast or risk wobbling. Debbie Wilson’s “HONEY, don’t ERUPT! / Or FREAK because I BRAKE hard / For the crossing DRAKE” is a good example of handling that well: the constraint words are absorbed into a believable roadside moment, and DRAKE arrives with a clear practical function. Across the set, the stronger poems solve the prompt by making the target word part of an active scene — crossing, applauding, standing alone, rejoicing — so the specificity becomes an asset instead of a burden.