The actors are also concerned about residuals for their work on cable TV and the internet.
The first round of talks has begun in Hollywood aimed at preventing a long strike that could cripple the film-making capital of the world.
Industry executives have sat down with television and movie screenwriters to try to craft a deal before their current contract expires on 1 May.
The looming dispute revolves around the issue of higher repeat fees for writers - residuals as they are known in Tinsel Town - when their work is sold on home video and DVD.
In addition, the writers are seeking increased royalties for programmes broadcast on cable TV and in foreign markets.
They are also looking to resolve a number of philosophical issues.
Many feel alienated from the film-making process and are demanding greater access to the movie set.
It is a particular bone of contention that the men and women responsible for something as basic and essential as a film's script are not automatically extended invitations to the first, glitzy, red carpet screening.
The pressure is on the studios and writers to find a quick solution.
Their talks are being eagerly watched by the Screen Actors' Guild, which represents Hollywood's actors.
Their contract with the studios ends on 30 June and a strike could start the next day.
The actors are also concerned about residuals for their work on cable TV and the internet.
The combined effect of a walkout by the writers and actors would be devastating for Hollywood.
As the writers' talks got under way, Hollywood's trade newspaper, Daily Variety, took the unprecedented step of printing a front page editorial appealing to both sides to exercise "restraint and responsibility".
The Writers' Guild of America has set a two-week deadline for negotiating a deal with the Alliance of Motion Pictures and Television Producers.
On day one, both sides sounded notes of cautious optimism.
"I don't think a strike would be good for anyone," said Warner Bros boss Barry Meyer.
"It wouldn't be good for the city, it wouldn't be good for any Guild member that works in the film industry."
Walt Disney's Bob Iger said: "The atmosphere was incredibly cordial."
But, he noted, "there are issues that both sides have that will keep us apart for a while".
Jeffrey Katzenberg, from the Dreamworks studio, acknowledged the demands of the writers were realistic.
"They want to be paid more for services and they want more respect in their jobs - two things that are appropriate to ask for," he said.
Writers' Guild spokesman John Wells was equally pragmatic.
"There are things that we are going to get that they don't want to give us and there are things that we want that we're not going to end up getting. That's a negotiation and I think that we're off to a good start," he said.
Last year's commercial actors' strike, also over residuals, lasted six months and set the scene for the current showdown between the writers, actors and studios.
It involved 135,000 actors who eventually struck a deal with advertisers for an average pay increase of around 9%.
The agreement guaranteed that ads made exclusively for the internet would use union actors.
The stoppage was estimated to have cost the Los Angeles area an estimated $125m (£85.6m).
While the commercial actors failed to win their dispute on every issue, the outcome was hailed as a success for the union and it served to harden attitudes towards a fresh battle this year.
The consequences could be far more devastating for the industry and the local economy.
The Los Angeles Economic Development Corporation has projected that a production stoppage by both the writers and actors would cost the region $2bn a month.
There would be a damaging knock-on effect on the housing, retail and tourism markets.
The mood in Hollywood is one of fear. Entertainment industry workers are bracing themselves for a strike that could last up to 16 months.
Chaos
Personal finances are being scrutinised, home-buying plans are going on hold and many people are anxiously searching out alternative employment.
If the strikes were go ahead the studios and TV networks would be plunged into chaos.
Production on virtually every film set would grind to a halt and there would be no new episodes of popular TV shows likes Friends or The West Wing.
It remains to be seen whether high profile talk-show hosts, such as Oprah Winfrey, also an actress, decide to honour any strike call.
Studio executives are currently attempting to stockpile movies and TV shows - rushing into production script ideas that, under normal circumstances, would struggle to see the light of day.
For the TV networks one saving grace may prove to be the current popularly of so-called reality-based shows - the participants are cheap and non-union.