This article is by Charles Staley from http://www.staleytraining.com/

1) Not training for strength:

Many martial artists feel that strength training is counter-productive, causing one to become too large and slow, despite the fact that in every other sport known to man, it makes athletes faster. Training like a bodybuilder (see mistake number 3) can certainly produce these undesirable effects, but properly designed strength training programs improve strength, speed, agility, endurance, and technical performance. Strength training should be viewed as a tool, the utility of which depends upon the context it’s used in.

2) Training for the wrong kind of strength:

Strength as a bio-motor ability has many expressions. All human movement requires strength, and for this reason, all athletes must concern themselves with developing their strength levels to the utmost. What many don’t know, however, is that there more types of strength than there are bogus ab-training gadgets on late-night info-mercials!

Here’s a partial list:

Maximal Strength: The amount of musculoskeletal force you can generate for one all-out effort. Maximal strength is your athletic “foundation,” but it can only be expressed in the weight room during the performance of a maximal lift. While only powerlifters demonstrate this type of strength in competition, martial artists need to develop high levels of maximal strength in every muscle group.

Relative Strength: This term is used to denote an athlete's strength per unit of bodyweight. Thus if two athletes of different bodyweights can squat 275 pounds, they have equal maximal strength for that lift, but the lighter athlete has greater relative strength.

Competitive events which have weight classes depend heavily on relative strength, as do sports where the athlete must overcome his or her bodyweight to accomplish a motor task (such as a jump kick). Further, events which have aesthetic requirements (kata competition, for example) rely heavily upon the development of strength without a commensurate gain in bodyweight.

Strength can be developed through two very different means— by applying stress to the muscle cells themselves, or by targeting the nervous system. The former method is accomplished through the use of bodybuilding methods (repetitions between 6 and 12), and results in strength gains through an increase in muscle cross-section. The latter is accomplished through higher intensity loads (repetitions between 1 and 4), and increases in strength are the result of the body's improved ability to recruit more of its existing motor unit pool.

For martial artists and other athletes who depend upon relative strength, bodybuilding methods should be used sparingly, unless a higher weight class is desired. Most strength training sessions should consist of high intensity, low repetition sets, which improve strength through neural adaptations rather than increases in muscle cross section.

3) Training like a bodybuilder:

My consultations with competitive martial artists reveal that bodybuilding is the predominant paradigm in today’s strength training world, at least in this country. But bodybuilding methods are designed to produce muscle mass, not strength. And while bodybuilders are strong, their relative strength is poor compared to other explosive strength athletes. These methods have some degree of utility for beginning martial artists as a means of attaining basic fitness, but after a year or so, they should be used sparingly, if at all.

4) Using insufficient intensity:

Most martial artists can relate to doing hundreds of pushups, sit-ups, and leg lifts in class, but as soon as you go beyond approximately 12 repetitions, the stimulus is too weak to favorably improve strength values. Think about it: as a martial artist, would you rather have the ability to perform weak techniques for hours on end, or the ability to deliver explosive, powerful techniques when it really counts? In training, you reap what you sow.

5) Lack of variation:

While many people realize that the training load must be progressively increased, few understand that the training stimulus must also be periodically be varied in order to prevent stagnation. Elite sprint coach Charlie Francis recommends changing the training program whenever there is a one week plateau in strength gains. Internationally acclaimed strength coach Charles Poliquin utilizes alternating phases of high volume with phases of high intensity in order to keep his athletes progressing.

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