Get a teacher if you possibly can, just for the start if necessary. They will really, really help you progress.
Whether you have a teacher or not, once you have some ability to sight-read pieces, if there's a group of recorder players near you then you can get some invaluable experience by going along and playing with them. You'll be stretched, challenged, frustrated and ultimately learn to play things you'd never have done yourself. You'll learn about playing in tune with other people, playing parts, following a conductor... and you'll meet people who can help you, too.
In the UK the place to look would be the Society of Recorder Players (www.srp.org.uk). For the USA there's the American Recorder Society (americanrecorder.org). Unfortunately, American geography being what it is there may well not be anything near you. Check out schools and other such places for music groups which might include the recorder and be willing to welcome beginners.
I cannot emphasise enough how much you can learn from other recorder players if you get the chance.
General advice for playing the recorder (naturally this largely represents what I've been taught, and my teacher's a baroque performance specialist):
Don't get the cheapest recorder, get an affordable plastic one. Decent plastic ones tend to be better than cheap wooden ones, even though more expensive wooden ones are far superior (but they are a lot more expensive and unnecessary until you reach a fairly substantial level of skill).
Learn to 'fill the recorder with air'. This tends to produce the best sound. Relax your mouth and throat to let the air flow freely into the instrument. If you blow too hard, the sound will break up or squeak, while if you blow too little it will be thin and unsteady. Try for a full, stable sound with no vibrato. This can be quite difficult to start with. Breathe deeply, think about your diaphragm and use it to support the breath. This is actually similar to singing technique.
Learn to play in tune. A tuning meter may be helpful for this. Different notes require differing amounts of air to play in tune. Generally speaking the lower notes require more air, and the pinched notes require substantially less. There are exceptions.
To start with, pretend dynamics don't exist. The recorder relies heavily on breath pressure to play in tune, so if you start trying to play quietly you'll find you're playing flat (and playing louder will make you go sharp or break the notes). There are alternate fingerings for some dynamics, and you get a bit of leeway with some instruments before the tuning fails, but it's a fairly advanced area of technique. Playing in tune is far more important as you start out, as an out of tune recorder is a rather unpleasant thing to bear witness to.
Learn your scales! Music's made out of scales, arpeggios and other bits. If you're good at scales and arpeggios, you only have to worry about the other bits.
When you find contradictory advice, examine it, try it, and make up your own mind. A teacher will usually want you to do it their way at first, but if you're working on your own you need to come to an understanding of why things are done in certain ways by yourself.
And finally (well, as finally as I'm going to get in this already overlong post), listen to some good recordings to get an idea how the instrument can sound and how the music can be interpreted. The main problem is that 'good' is a matter of taste. Find ones you like and listen to those, as you'll never get anywhere if you're trying to copy a sound you don't care for. I don't recommend trying to copy Piers Adams as your fingers might fall off.