Ian's advice is good.
My own suggestion would be to get a toe in the water as soon as possible. It seems essential to make a few mistakes to become proficient. Everybody goes through this and everybody comes out the other side.
What I'm suggesting below can be done in any order, just as you please. If anyone goes you mere paleteable advice, take it.
Set up the camera a few times, so you're not intimidated by all that folding and adjusting. You don't need to be quick, just familiar and at ease with the machine.
Play with your lens in the hand, setting the shutter and firing it, adjusting the aperture, remembering which way things turn. Learn what different shutter speeds sound like.
If you don't have any spare negs, sacrifice a couple of the cheaper brand and get used to loading and unloading film in the holders. Some people find this intimidating, but it's a simple matter of familiarity. Do it first in the light, then progress to working out how to do it in darkness. (A small tip from my experience: don't close your eyes in the dark.) You need to evolve a reliable method of your own. Don't try to mix loading and unloading in the same session. Do all of one and then all of the other.
When you load film, be careful to get the actual slides the right way round. Kodak and Ansel Adams say that having the white side outwards will indicate unexposed, virginal film. You are free to change this, but you'll need to check, if you ever work with another photographer.
You may know this already: when you hold up a sheet of film in portrait mode, there will be a notch at the right hand side of the short top edge when the sensitive emulsion side is facing you. Obviously, you will load the film with the emulsion facing outward and it seems best to have the notch on the last side to enter so that you can, if needed, check it without unloading the whole sheet.
Now, whenever you have an idle moment, set up the camera and put the lens in place. Put your lens caps somewhere safe and attach the cable release. Stand in front of almost anything and focus the camera. Focus on different parts of what you see. Don't concern yourself with movements just yet, but just discover what an image in focus looks like. Stand in front of something else and do the same. You can be indoors or outdoors, depending on convenience and the Met Office. Try doing this in both bright and dim light. Learn to set the shutter while it's on the camera. You might choose to move it around on the lensboard to make it easier to see.
When you're used to looking at the ground glass, read up about movements. Don't read too hard or you will be reduced to despair. Save that for later. Learn to spell Shiem...Shimef...Schemf...
The easiest movement to understand is front rise. Park yourself in front of something tall and slide the lensboard upward while watching the ground glass. You will feel a bit clumsy, as we all do. You'll see the unwanted foreground (at the top) disappear and the tops of things come into view. Once you've seen how it works, you'll understand front fall and the cross movements, if your camera has them.
Tilt is a bit harder to visualise. It doesn't increase depth of field, but it does tilt the plane of sharp focus, so you can give the effect of greater depth. Find a scene with things in the foreground and in the background. Standing on a lawn facing your back door will do quite well. Follow the advice in your book until the grass (at the top of your screen) and your back door (at the bottom) are both sharp.
Almost certainly, your books will not have told you that this is an iterative process. You make an estimate of where to focus. You tilt and the focus changes. You adjust it and that means changing the tilt. In turn, the focus alters. And so on. This is normal. It may take some time to get it right, but this is all very good for learning. Every time you make an adjustment, you are learning something. Don't let yourself get frustrated. It's there same for everybody and you will get quicker.
Some scenes are so tricky that even an experienced photographer will have problems. See Joanna Carter's account of photographing down a steep hill, elsewhere on this forum.
Now load some film and go out to conquer the world.
You don't mention developing. I'll not go into that. Not now.
