This is a hard haiku constraint because SCOOP is both noun and verb, and it carries a lightness that can tilt the poem toward gimmick unless the surrounding scene gives it weight. The stronger entries solve that by making the word necessary inside a physical action. Debbie Wilson’s “Ice cream SPIRE SOUPY / On STOOP – SWOOP it up and SNOOP… / For another SCOOP” is a good example: the constraint words are absorbed into one coherent melting-dessert moment, so SCOOP arrives as the natural continuation of the scene rather than as a visible answer word. Across the set, the better poems give the target word a real job — burial caution, cleanup, gossip, retrieval, injury, or sweetness — which is what keeps the prompt lively without letting it become trivial.