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Source: https://writers.stackexchange.com/a/32222
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/32222
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

I would echo part of Myron's answer. I have a highly trained close combat martial artist in one of my stories. I personally only have a year of martial arts training, but I know enough about it and anatomy to do web research.

My approach is to avoid **_all_** lingo and nomenclature; all I describe is the openings my fighter sees and the **reasons** that blows are effective: This kick ruptures the liver, that blow rips the esophagus. I do get "clinical" when I feel the results need to be explained: _The blade stuck in the back of his hand, severing the median nerve bundle that controlled his thumb and fingers. His hand spasmed and the sword dropped._

So I will refer to specific blood vessels, tendons, nerves or bones, with enough context for the reader to know what I (the author) refer to, and enough for the reader to see my character knows exactly what they are doing and why. In my story, at least, I feel any specific martial arts terminology _directed at the reader_ would only confuse them.

There may be call to use it _between_ characters that are both knowledgeable. All professions develop their own lingo of single words or phrases, a shorthand to quickly communicate a lot of meaning. When that is needed, I tend to invent something more literal than poetic, or use something real but intentionally choose words from a wide variety of fighting styles, I want my fighter to be MMA with access to **any** style, I don't want a knowledgeable reader to say "That isn't Jiu Jitsu" or "No Karate expert would do that".

As Thomas says, there are literally thousands of martial arts systems and a professional fighter with a lifetime of training might easily switch between several approaches, depending on their opponent's skill level and numbers.

As far as real fist fights are concerned, against amateurs, I have known four bar bouncers, and their strategy is typically the same. Deflect or dodge blows, and go for a disabling strike (knockout or other fight-ender). The typical "fight" of an amateur against a bar bouncer is one or two seconds long.

Training to duck or dodge head or neck strikes is paramount: Not getting knocked out (or knocked into disorientation) can literally save your life, There is nothing more vulnerable than lying unconscious in the street and getting face stomped and kicked. One stomp or kick to the throat or head can kill, even inadvertently.

Oh, and in a fistfight, don't punch with your fists! It is too easy to break a small bone in your knuckle or hand if you punch solid bone (in the skull, the edge of the jaw, an elbow brought up to block). A broken bone in your hand disables your primary weapon: Out of pain, but even if adrenalin keeps you from feeling it there is the slipperiness of blood and the loss of structural support. It is the reason boxers are allowed such heavily cushioned gloves, so their ring matches can last.

The heel of the hand is very hard to break, can be used almost anywhere a fist can be used, and is **more** effective than the fist without endangering fingers (which are also free to then grab or do more damage).

I would also agree with the advice to keep the focus on the character experiencing the fight; in my writing fights seldom go to plan, especially against multiple opponents. Opponents do unexpected things (like dodge a punch or run at the first strike), my fighter can lose his balance or slip, a knockout punch can fail to knock somebody out, etc.

I try to never portray either heroes or villains as infallible. Always triumphant is okay, but knowing my heroes **_can_** make mistakes and be injured or be forced to improvise sustains tension in their fights.

Original score: 2