Zensteve is right; for some reason, it seems like there are tons of composers looking for work, especially online. With the number of film projects going on at any given time, I'm not totally sure why it's an issue. Like I said before, I think part of it lies with the fact that proportionately, so few independent filmmakers consider using original music. I've worked with several directors who have never worked with a composer before, and most of them say it's because it never occurred to them to do anything but use existing music! As a composer, and as a film lover, I find that heartbreaking!
Another part of it is that we're kind of independent from the rest of the film making process, with the obvious exception of musicals and planned source music for the sets. I mean, we come in to the picture (no pun intended) in mid/late post-production, and we do our own thing at that! Generally, we're not there when the script is written, pre-production, shooting, editing (except in special cases), etc. Once the picture is in its rough cut or locked is when we come in! And then, we work with the director, producer, and/or editor ONLY. We're also some of the last people to see the project before it's in its final form.
When I score projects, I rarely get to talk with, let alone meet, the rest of the cast and crew besides the director, producer, and perhaps editor, unless there's a cast/crew party.
Anyway, Craig's List isn't the only place you can post a wanted ad. There are numerous places online, of varying quality and reliability. I don't know what the film/film music scene is like around Florida, because it's different everywhere. Zensteve is in Hollywood, so it's absolutely no surprise that he gets 100+ responses a day. Here in NC, I'm only aware of 2-3 other serious film composers in the state. There could be more, but I seriously doubt there are more than 10-15, tops.
You may find a great local composer. I know the University of Miami has a Media Scoring and Production program that pumps out a dozen or so (?) students every year, some of whom are bound to still live in Florida. Maybe you could contact the school; I'm sure the students there would love to work on a non-school project, and some of them would probably do it just for practice. The head of the program there is Raoul Merciano ... not sure how to spell his name, though! Dennis Kam is the head of the music composition department, so he might be a good contact, too.
But if you don't find a good local composer, you might consider working with a composer in another part of the country. It sounds difficult, but it's really not. We have digital phone, cell phones, text messaging, instant messaging, e-mail, online file transfers, DVD burners, overnight shipping, and of course, PayPal!
I live in NC, and it's no problem for me to score an indie project that's in CA (done it!).
Anyway, as is the risk in nearly any free venture, the quality of work you'll get, and the quality of the end product, is most likely going to be lower than if you simply hired a professional composer. If you looked up a building contractor in the phone book, called, and they said "Hey, we'll build your house for free! We've only built two houses, and we're just working for the experience," wouldn't you be a little skeptical? Or, if you called a plumber and told them what you needed done, and they said "Give me a good 40-hour week to get it done, no problem! It's what I do,"you'd probably question the quality of work he or she does, right?
Or, liken it to actors. There are plenty of actors out there who are willing to work for free, but on the whole, compare the freebies to the pros that charge. Same thing goes for any other role in the film making process ... and most jobs in general, for that matter!
That being said, working with a composer who's not charging is almost definitely going to be better for both you and them in the long run. You'll both gain valuable experience and learn how to collaborate. Even if the score turns out terrible, and the film suffers as a result (worst case scenario, right?), ideally you both will know WHY that happened and how to prevent it! But it seems to me that even a bad film score, within reason (i.e. no pounding, razor-sharp action music during a soap opera) can't be that much worse than stock music pasted into the film!