This is a deceptively hard haiku constraint because BREAK is so common and so flexible. It can easily collapse into cliché or generic phrasing unless the poem gives it a very specific job. Mick’s “a lone GRAIN silo / shadows over a BROAD field / farmer at BREAK kneels” is a good example of handling that well: the constraint words are absorbed into one stable rural image-field, and BREAK arrives not as an idiom but as a concrete pause within labor and space. Across the set, the stronger entries make the target word function structurally — as rupture, escape, sweat-point, breakup, or rest — which is what keeps such a familiar word from going flat in haiku.