Why 'feeling so bad' is the right choice over 'feeling so badly' in English

A quick grammar moment that pops up in the PACT test—and in everyday writing too—goes like this: Grace is feeling so badly. What should replace badly, if anything? The short answer is: A, Feeling so bad. And yes, this little choice has a big impact on how clear and natural your sentence sounds.

Let me explain why this matters. In English, a lot of how something sounds hinges on whether the word after a verb acts as a state descriptor or as a modifier of the action. It’s a classic case of adjectives versus adverbs doing different kinds of work in a sentence.

What makes Grace’s sentence tricky

• The verb in question is feel, a classic linking verb. Linking verbs work like a bridge: they connect the subject to a description of its condition. They’re not about performing an action, but about stating a state of being.

• That means the complement—the word or phrase that follows feel—should describe Grace’s state. And states are usually described by adjectives, not adverbs.

• Adjectives describe nouns or pronouns (Grace’s state, in this case). Adverbs typically modify verbs, adjectives, or other adverbs, telling us how something is done. When we use a linking verb, we want the extender to be an adjective.

Now examine the options in the same light

• A. Feeling so bad — correct. Bad is an adjective, and it neatly conveys Grace’s emotional or mental state. The phrase says Grace isn’t feeling well; she’s in a bad emotional place, which is exactly what we want to communicate.

• B. Feeling so terribly — awkward and off-target here. Terribly is an adverb. It would tell you something about the manner of feeling, not the state. In other words, it answers “how does she feel?” rather than “how does she feel?” If you say Grace is feeling so terribly, it’s like you’re commenting on the act of feeling rather than the feeling itself. That’s not what the sentence structure is designed to do.

• C. Feeling so ill — this is a valid idea, just not the same idea. Ill implies sickness. If Grace is sick, this works as a precise description. But it shifts the meaning from emotional or mental distress to physical illness. It’s correct in a different context, but it doesn’t fit the intent of a general emotional state.

• D. Feeling so poorly — this also signals sickness, similar to ill. Poorly is more common in British usage, but in American usage it signals not feeling well physically. It’s not the best fit if you want a broad emotional or mental state.

So, the best choice for Grace’s state in the given sentence is A: Feeling so bad. The other options, while they can be correct in other contexts, either describe sickness (ill or poorly) or misuse the adverb by turning the sentence into a description of the action rather than the state.

A tidy rule you can carry forward

Here’s a simple way to remember it: with linking verbs like feel, look, seem, or appear, the thing that follows should usually be an adjective describing the subject’s state. If you’re tempted to use -ly adverbs to modify the idea of “feeling,” pause and check whether you’re talking about the state (adjective) or the manner of feeling (adverb). The state wins in most everyday writing.

A few quick, practical checks

• Swap test: Replace the word after feel with a plain adjective you’d use in everyday talk. If “bad” fits without sounding forced, you’re on the right track. If you’d rather say “sick” or “unwell,” that’s a different meaning but still valid in a different context.

• Sickness vs mood: If your sentence is about physical health, ill or poorly might be okay. If you’re describing mood or emotional state, stick with an adjective (bad, upset, happy, anxious, etc.).

• Rhythm matters: Sometimes a writer keeps the -ly form simply because it keeps the sentence rhythm, but with feel, that rhythm choice often hurts clarity more than it helps.

A broader angle for the PACT writing task

Grammar accuracy like this isn’t about chasing a single correct answer. It’s about making your writing feel natural and precise. When readers encounter “Grace is feeling so badly,” they stumble a bit because the sentence nudges us toward a different grammatical path than our everyday speech usually follows. The more your writing aligns with how people actually describe states of being, the more fluent your prose sounds.

Let me connect this little grammar nugget to a wider habit that serves any writer—student, professional, or curious reader. People tend to overthink adjectives and adverbs when they’re drafting. The instinct to sprinkle -ly adverbs is strong because adverbs are flirtatious with emphasis. But in sentences with linking verbs, the emphasis should land on the state, not the action of feeling. Keeping this in mind saves you from a common stumble and makes your writing smoother, especially in the longer, more reflective passages you’ll encounter on the test.

A tiny digression that still ties back

While we’re on the topic of linking verbs, it’s fun to notice how other senses work the same way. Consider sentences like:

• The coffee tastes good. Here, taste is a sense verb used as a linking verb, and good is an adjective describing the coffee’s quality.

• The soup looks delicious. Look links the subject to a description of appearance, with delicious being the descriptive adjective.

• The air feels chilly. Feel describes a sensation, but chilly is still an adjective describing the condition.

In each case, you’re after a straightforward, descriptive link from subject to state. If you try to push an adverb into that slot, the sentence often sounds awkward or awkwardly formal, and readers pause. That pause is exactly what you want to avoid in a clean, effective piece of writing.

How this shows up in the broader landscape of the PACT test

You’ll see sentences like these peppered through the reading passages and prompts. They aren’t just about grammar; they’re about tone, clarity, and how well ideas connect. A small choice—bad vs badly—can ripple through a paragraph, affecting how confident the reader feels about your point. When the goal is to express a state clearly and plainly, the adjective route is usually the right one.

If you’re thinking about how to practice this concept in your own writing, here are simple steps you can try right away:

• Start with a short sentence: Grace is feeling so [choose adjective]. Test a few options: sad, anxious, overwhelmed, calm. See which sounds most natural to you.

• Swap exercise: Change the sentence to “Grace is feeling so [adjective]” and read it aloud. Does it still convey the intended meaning without a jolt?

• Expand softly: Write a couple of lines that show Grace’s state through details, not just the blunt adjective. For example, “Grace sits with her shoulders a bit slumped, and she doesn’t meet anyone’s eyes. She’s feeling so bad about the news.” Notice how the description reinforces the state without overcomplicating the grammar.

A closing thought you can carry forward

Small grammar decisions like choosing between bad and badly aren’t just trivia. They shape how readers feel about your writing—whether they trust it, whether it flows, whether it sounds like someone who knows how to express a thought clearly. In the PACT test’s world of concise prompts and careful evaluation, that kind of clarity matters a lot.

So, next time you’re tempted to write “Grace is feeling so badly,” pause for a moment. If the intent is to describe a state of being, give the sentence the adjective it deserves: Grace is feeling so bad. If you’re aiming for sickness or a particular physical condition, switch to ill or poorly, and make sure the context supports that nuance. And if you’re ever unsure, run the line aloud or test it with a quick swap to an adjective you’d actually use in conversation. The easiest way to sharpen your writing is to sound like yourself—clear, precise, and just a touch conversational.

If you keep that mindset, you’ll not only navigate grammar quirks with ease, you’ll also bring a natural rhythm to your word choices that resonates with readers—and that’s the kind of writing that sticks.